Copyright

by

David Alan Renter

2008

The Dissertation Committee for David Alan Renter Certifies that this is the

approved version of the following dissertation:

HOLIDAY IN REALITY:

A SUITE FOR JAZZ CHAMBER ENSEMBLE

IN FIVE MOVEMENTS

Committee: _________________________________ John Mills, Supervisor _________________________________ Jeff Hellmer _________________________________ John Fremgen _________________________________ James Buhler _________________________________ Cheney Crow

HOLIDAY IN REALITY:

A SUITE FOR JAZZ CHAMBER ENSEMBLE

IN FIVE MOVEMENTS

by

David Alan Renter, B.M.; M.M.

Dissertation

Presented to the Faculty of the Graduate School of

The University of Texas at Austin

in Partial Fulfillment

of the Requirements

for the Degree of

Doctor of Musical Arts

The University of Texas at Austin

May 2008

Dedication

To my grandmother Evelyn Beattie and parents Juergen and Diane Renter, whose

example provided the best education, and whose support made everything possible.

v

Acknowledgements

Special thanks to: Jeff Hellmer, John Mills and John Fremgen who have greatly

contributed to my development as a musician and composer; to Kurt Ellenberger for his

constant support and friendship; Alex Gordon, for inspiration above and beyond the call

of duty; to Kenny Wheeler, David Morgan, David Binney, Chris Potter, Vince Mendoza,

Brad Mehldau and Maurice Ravel for providing the inspiration for the music contained

herein.

vi

Holiday in Reality:

A Suite for Jazz Chamber Ensemble

in Five Movements

Publication No._____________

David Alan Renter, D.M.A.

The University of Texas at Austin, 2008

Supervisor: John Mills

Holiday in Reality is a five-movement suite for jazz chamber ensemble utilizing

strings, brass, woodwinds and jazz rhythm section that provide a context for interplay

with the tenor saxophone. The intent was to compose a series of musical vignettes

exploring some of the possibilities of integrating jazz and classical idioms, with the goal

of fusing these genres into a unified whole. The title Holiday in Reality is the name of a

poem written by American poet Wallace Stevens. In this poem, Stevens depicts the

interaction between the mind and imagination as a series of spontaneous events. When

viewed within a creative context, his viewpoint of mind and imagination are well suited

to inspire music composition and improvisation. The analysis of this suite provides a

general descriptive overview of the form, harmony, and thematic development in each

movement, offering a look into the rationale behind the music’s architecture.

vii

Table of Contents

Chapter 1 Goals and Aesthetics ...........................................................................1

Chapter 2 Form ...................................................................................................5

Chapter 3 Harmony...........................................................................................33

Chapter 4 Melody..............................................................................................51

Chapter 5 Rhythm.............................................................................................60

Chapter 6 Orchestration.....................................................................................67

Chapter 7 Conclusions ......................................................................................79

Appendix [Full Score]........................................................................................81

Movement I...............................................................................................82

Movement II............................................................................................118

Movement III ..........................................................................................137

Movement IV ..........................................................................................166

Movement V ...........................................................................................187

Bibliography ....................................................................................................223

Vita…..............................................................................................................224

1

Chapter 1: Goals and Aesthetics

…Music inspiration, like any other kind of artistic or scientific inspiration is not without bounds. It operates within the limitations drawn by both the material qualities of the artistic medium that causes the aforesaid effects and the state of mental erudition and preparedness in the mind of the individual who experiences them.1

So writes Paul Hindemith on musical inspiration from his book A Composer’s

World. Hindemith reinforces the notion that stylistic and creative limitations extend only

so far as a composers’ willingness to explore new territory. The artistic medium of music

provides both a framework and a stimulus for the composers’ imagination.

The original impetus for Holiday in Reality stemmed from an avid interest in

classical music and in composing a multi-movement work. Once the instrumentation was

firmly established several ideas for the music began to emerge.

The notion of fusing elements of jazz and classical styles has proven to be an

effective and long-lived combination. Throughout jazz history, many players, arrangers

and composers have incorporated classical instrumentation in their music. This all began

with George Gershwin’s Rhapsody in Blue (1924), which can be considered one of the

first examples borrowing jazz elements, such as note bends and swing rhythms, and

placing them in a classical setting. In 1957, Gunther Schuller coined the term “third

stream” that designated the combination of classical forms with improvisatory elements

1 Paul Hindemith, A Composer’s World: Horizons and Limitations (London: Oxford University Press, 1952), p. 47

2

of jazz as a synthesis of disparate, but not necessarily incompatible entities.2 Other

examples that illustrate the influence of these two idioms include Gil Evans and his use

of orchestral brass/woodwinds in Miles Ahead (1957), Porgy and Bess (1958), Sketches

of Spain (1959) and, Duke Ellington’s programmatic suites such as Black, Brown and

Beige (1943), Claus Ogerman’s string orchestrations on Bill Evans Trio with Symphony

Orchestra (1965), and the Kronos Quartet performing jazz material on Kronos Quartet

Plays Music Thelonious Monk (1985).

Jazz recordings that have incorporated string writing have influenced the music

in Holiday in Reality. In recent years, many jazz recordings have employed classical

instrumentation in a variety of combinations, including string quartets, symphonies and

vocal groups.3 A growing number of jazz performers have also composed and arranged

for their own recordings combining jazz and classical instrumentation.4

Holiday in Reality is a five-movement suite for jazz chamber ensemble utilizing

strings, brass, woodwinds and jazz rhythm section that provide a context for interplay

with the tenor saxophone. The title is borrowed from the name of a poem written by

American author Wallace Stevens. In this poem, Stevens illustrates the relationship

between the mind and imagination. An excerpt from his poem reveals a few of the

descriptive metaphors Stevens uses to articulate this relationship:

2 Nicolas Slonimsky, Baker’s Biographical Dictionary of Musicians (New York: Schirmer Books, 8th Ed. 1991), p. 1651 3 Examples of this include: The album Officium (ECM Records, 1994) by Norwegian saxophonist Jan Garbarek and the Hilliard Ensemble; saxophonist Joe Lovano and Gunther Schuller on Rush Hour (Blue Note, 1994); Joe Lovano and arranger Manny Albam on Celebrating Sinatra (Blue Note, 1996). 4 Chris Potter, Songs for Anyone (Sunnyside Records, 2007); Kenny Wheeler, Other People (Cam Jazz, 2008).

3

“The bud of the apple is desire, the down-falling gold, The catbird’s gobble in the morning half-awake—

These are real only if I make them so. Whistle For me, grow green for me and, as you whistle and grow

green, Intangible arrows quiver and stick in the skin

And I taste at the root of the tongue the unreal of what is real.”

From “Holiday in Reality” by Wallace Stevens5

This poem helped inspire the notion of composing a series of pieces that

incorporate instrumentation from outside the jazz tradition. Each movement in the suite is

labeled only by Roman numerals. The decision to exclude song titles was made in order

to allow listeners to draw their own interpretation and meaning from each movement.

This stems from the Holiday in Reality poem, where Stevens divides each stanza of the

poem using Roman numerals. In his poem, the reason for the divisions is not abundantly

clear, but Stevens is likely interested in letting the reader experience a series of “moment

to moment” events illustrating the relationship between our mind and reality.

An important aesthetic that helped guide the creation of this music was the value

placed on variety. Music theorist Arthur Edwards discusses the importance of variety in

his book The Art of Melody. In this work, Edwards asserts that:

In the perception of the temporal arts, of poetry, drama, the dance and music, the principle of variety is emphasized…Because the variety of detail is more immediate in perception, variety holds a greater importance in the perception and creation of the temporal arts…Variety needs and responds to the demands of unity, while unity must have variety in order to function at all.”6

5 Wallace Stevens, The Collected Poems of Wallace Stevens (New York: Alred A. Knopf, 1969), p. 313 6 Arthur C. Edwards, The Art of Melody (New York: Philosophical Library, 1956), p. 6

4

In keeping with Edwards’ view, Holiday in Reality incorporates melodic,

harmonic, rhythmic and textural variety as a pattern of contrast, which is an ongoing

aspect throughout the entire suite.

With music, variations in detail help sustain interest and heighten a listener’s

expectation during a performance. The benefit of performing a series of movements, in

succession with one another, allows the listener to conceive the details of variety in one

conscious insight. These variations in harmony, melody, rhythm and orchestration help

generate forward momentum from one movement to the next and in the arc of the larger

work.

From a broader perspective, Holiday in Reality is best understood as a series of

musical events that, as in Stevens’ poem, emerge organically one after the other. The

intention was to allow the listener to draw his or her own conclusions about the meaning

of each movement and the suite as a whole.

5

Chapter 2: Form

2—A.

OVERALL STRUCTURE

In the examination of various formal components within each movement one may

observe patterns, shapes and structures that are present in the suite as a whole. Holiday in

Reality is a series of musical vignettes that contain an organic and asymmetrical quality

in how they unfold. This is similar to a kaleidoscope, with its vivid and colorful patterns

that change after being shaken. While an infinite number of scenes are possible the

underlying elements (i.e. the materials inside the kaleidoscope, such as the loose colored

materials, mirrors etc.) by which these patterns are created remains unchanged. This

notion can be applied to Holiday in Reality where the medium (the instruments,

harmonic, melodic and rhythmic choices) remains the same while the formal structure

(i.e. the colorful patterns) of each movement changes.

There is a correlation between jazz and classical form. The music of the 18th and

19th centuries helped establish a relatively uniform class of formal structures, including

rondo, binary, ternary and sonata forms. The sonata form terms exposition, development

and recapitulation help identify the large formal structures in Holiday in Reality. Jazz and

classical music may differ in their expectations of details such as key centers, cadence

structures, balance of phrases and a different approach in the development section.

Nonetheless, sonata form terminology is applicable in labeling the formal divisions

within each movement.

Sonata form terminology carries an implication that motivic development and/or

thematic restatement “must” take place in order to create unity. However, unity can be

achieved through other means by establishing a pattern of change that links appearances

6

of primary and secondary themes as well as contrasting meters, rhythms and tonal

centers.

Harmony is closely tied with the structural framework of the composition. It helps

demarcate phrase endings and larger formal sections. The five movements share similar

internal structures but differ in their use of melodic, harmonic and rhythmic content. The

following discussion will compare the structurally similar components in all five

movements: the exposition (primary and secondary themes), development (centering on

improvisation), recapitulation, introduction, and coda. Chart 1 (on the next page) offers a

comprehensive formal overview of each movement.

7

CHART 1: Formal outline of Holiday in Reality (Scaled to time)7 Movement I

String Introduction PT ST (PT and ST repeated) Tenor Sax Solo (over ostinato) end solo 1 55 63 75 96 134 Introduction Exposition Development G and A Lydian G and A Lydian 6/4, 4/4 6/4 6/4

PT ST Guitar Lead (Var. PT) 135 145 154 165 183 Transition Recapitulation Coda D Lydian G and A Lydian E Lydian and C Minor G Maj7 (11) 6/4 6/4 3/4 3/4

Movement II PT ST PT Trombone Solo End of Solo Tenor/Drum Solo 1 9 21 29 53 77 99 Exposition Development Development Esus4/D-7 B-7 Esus4/D-7 A Maj7 (desc. bass) B and F Phrygian Unstable 6/4 4/4 6/4 4/4 4/4

PT Last phr. 100 109 115 123 Transition Recapitulation Coda A/G, B7 Esus4/D-7 C7alt. G-7 (6) 4/4 6/4

Movement III Tn. Solo PT ST (x3) PT TT (3rd Theme) Tn./Pno Solo Ens. Section 1 13 24 38 55 69 86 100 Introduction Exposition Development F Pedal F Pedal A, E, F Pedal F Pedal B, F Pedal F Pedal F, G Maj7 (11) (Free) 4/4 4/4 4/4, 7/4 4/4 4/4 4/4, 7/4 4/4, 7/4

w/Str. and Bass PT ST Guit. Solo (New melody) 101 117 129 133 144 Transition Recapitulation Coda Varies F pedal BbMaj and Fsus4 Fsus4 4/4,3/4, 6/4 4/4 4/4, 7/4 4/4

7 The measure length of each section is proportional to the length of time in performance. For the sake of this chart, the proportion of time given to open sections is taken from the live recording of this suite.

8

Movement IV Tn./Cello Intro Pno. Fig. PT ST PT Tn./Flg. Solos Pno. Ostinato 1 9 17 25 32 (42) 43 67 77 Introduction Exposition Development Transition (New Material/Exp.) G, E, A F, G Maj7 (11) Bb-7 C, B, A Aeolian A (Rubato) 4/4 4/4

New PT Strings/Pn. 83 124 127 New Exp. Cont’d A (from m.8 in cello) 4/4 D Maj7 (11, 5)

Movement V Full ensemble Pno. PT ST PT Guit. solo (ST harm.) New solo material Pno./Str. 1 35 39 53 68 75 90 118 Introduction Exposition Development Transition Unstable A A Unstable A Unstable8 C-7 Lyd. Chords 4/4 4/4, 3/4 4/4 4/4,3/4 4/4

Tenor solo ST PT accel. 126 140 155 162 182 Development Recapitulation Coda C-7 unstable A A B-11 4/4 4/4, 3/4 4/4

8 Reflects a series of tonalities rather than a specific tonality.

9

2—B. EXPOSITION

(PRINCIPAL AND SECONDARY THEME GROUPS)

An initial appearance of primary (PT) and secondary themes (ST) functions as the

main thematic material in each movement. The first movement establishes an aesthetic

that governs all movements in Holiday in Reality. The ideas of contrast and juxtaposition

found here are central to the compositional traits present throughout this suite. Changes in

harmonic motion, symmetrical/asymmetrical phrase lengths, unexpected meter changes

and chromaticism help to achieve this contrast.

This suite prominently features the string section and tenor saxophone. The tenor

is featured in all movements performing a dual role of stating melodic themes and acting

as one of the primary soloists. Example 2.1 illustrates the primary theme contained in the

first movement.

MOVEMENT I

EXAMPLE 2.1 Movement I: Primary theme, mm. 55-62

10

The primary theme of Movement I, mm. 55-62, is comprised of an eight-measure

symmetrical phrase. The second four bar phrase is similar to the initial phrase, mm. 55-

58, with only minor differences in melodic content in the second and fourth measures,

mm. 60 and 62 respectively. Ascending and descending scalar gestures characterize the

melodic contour. Here the tenor states the theme over a two-measure ostinato in the

rhythm section. This diatonic melody adheres closely with the Lydian scale of

GMaj7(11) and over Asus4 avoids C.

EXAMPLE 2.2 Movement I: Secondary theme, mm. 63-74

The secondary theme of Movement I, mm. 63-74, is characterized by a sequential

phrase framed by a sixth interval descending in whole and half-steps.9 A striking aspect

of this theme is the convergence of melody and underlying harmony, ascending in

stepwise motion, arriving on EMaj7(11) in m. 67. The last four measures of the

9 The usage of the sixth interval is prominent in the music of trumpeter Kenny Wheeler. A striking example where Wheeler makes use of this can be found in his composition entitled “For Jan” from the recording Music for Large and Small Ensembles (ECM 1415/16).

11

secondary theme, mm. 71-74, can be viewed as a melodic transition leading back to the

second statement of the primary theme in the ensuing phrase.

Following the secondary theme, both theme groups are restated in mm. 75-95

with additional accompaniment in the brass and string sections. Here the primary theme

is stated by the tenor and flute; following this, the trumpet enters in unison with the tenor

during the reiteration of the secondary theme in mm. 84-94.

MOVEMENT II

The second movement has two distinctive themes, however, only the primary

theme reappears in the recapitulation. The tempo is slower than the first and third

movements and can be considered an intermediary movement between these two. The

soloists in this are the trombone and tenor. Illustrated in Example 2.3 is the primary

theme found in the second movement.

EXAMPLE 2.3 Movement II: Primary theme, mm. 1-8

12

Example 2.3 illustrates the primary theme stated by the tenor saxophone and

accompanied by the string section, without piano or bass support. As in the first

movement, the primary theme is a symmetrical eight-measure phrase. The tonic key of

D minor is not emphasized until the fourth beat of m. 3 in cello II. Helping to emphasize

this tonic, cello I plays a chromatic gesture emphasizing E. The underlying harmony in

each four-measure phrase begins with E in the cellos and descends a major ninth to D

minor in mm. 3 and 7.

EXAMPLE 2.4 Movement II: Secondary theme, mm. 9-20

The secondary theme of Movement II, mm. 9-20, is a 12-measure phrase divided

into three sections. The first section is a four-measure theme stated by the tenor

saxophone, trombone and acoustic bass. This phrase is repeated, mm. 13-16, and

followed by a third four-measure phrase that resolves to Bsus4, mm. 18-20. The root

motion of B-E implies a dominant-tonic resolution, however the sus4 upper structures

in both sonorities obscure the cadential phrase.

13

MOVEMENT III

The third movement can be considered the most interesting of the entire suite. It

begins with a tenor solo containing no predetermined harmonic or melodic guidelines.

This is followed by the tenor stating the primary theme over F pedal in the bass.

Gradually the music leads towards the tenor and piano solo in the development.

Movement III incorporates several other compositional devices, such as:

• Free improvisation.10

• Transition featuring unaccompanied string pizzicato section.

EXAMPLE 2.5 Movement III: Primary theme, mm. 12-24

Example 2.5 illustrates the primary theme in Movement III that appears with the

tenor over F pedal in the bass. This primary theme follows an asymmetrical phrase

structure of: (3) + (3) + (6).

Immediately following the presentation of this primary theme, a secondary theme

emerges in mm. 25-37. The formal structure of the secondary theme is distinct due to its

10 The term free improvisation implies an absence of pre-determined melodic, harmonic or rhythmic foundations.

14

repetitive nature and includes an extra measure in the third iteration. The secondary

theme contrasts with the primary theme, due to:

• Entrance of AMaj7 and EMaj9 chords which helps to contrast with

the F pedal heard in the introduction and primary theme.

• Use of descending and rhythmically consistent quarter-note melody.

EXAMPLE 2.6 Movement III: Secondary theme, mm. 25-37

Example 2.6 shows the secondary theme of Movement III, mm. 25-37. Here the

phrase lengths can be broken into three asymmetrical groupings: (4) + (4) + (5).

EXAMPLE 2.7 Movement III: Third theme, mm. 55-64

15

Example 2.7 shows the third theme present in Movement III, mm. 55-64. This

theme is best understood as a transitional passage. It links the secondary theme, mm. 50-

54, with the solo section, mm. 65-85, since the material does not recur in the

development, recapitulation or coda. The third theme is included here since it appears

before the development, helping to provide melodic and structural stability between the

secondary theme and development section.

MOVEMENT IV

The fourth movement follows a symmetrical form during the exposition. The

most striking formal element in this movement is the appearance of a false recapitulation

that introduces new melodic material in mm. 77-123. This false recapitulation will be

discussed in the section devoted to recapitulations. The two soloists in this movement are

the tenor saxophone and flugelhorn.

EXAMPLE 2.8 Movement IV: Primary theme, mm. 17-24

Example 2.8 illustrates the Movement IV primary theme, mm. 17-24. This theme

is a symmetrical eight-measure phrase, stated by the tenor using exact repetition. The

16

underlying harmony is characterized by a four-measure ostinato based on the chordal

structures of C-B-A Aeolian.

EXAMPLE 2.9 Movement IV: Secondary theme, mm. 25-32

Example 2.9 reveals the secondary theme from Movement IV, mm. 25-32. This

passage is characterized by an asymmetrical eight-measure phrase with the underlying

harmony shifting every two-measures. The final two-measures, mm. 31-32, help to set

up the reiteration of the primary theme.

Following the secondary theme, the primary theme returns, mm. 33-42, with the

addition of two extra measures helping to set up the fermata in m. 62, leading into the

tenor and flugelhorn solos.

MOVEMENT V

The primary and secondary themes in Movement V contain asymmetrical phrase

lengths. The featured soloists in this movement are the guitar and tenor. Example 2.10 on

the ensuing page illustrates the primary theme of Movement V.

17

EXAMPLE 2.10 Movement V: Primary theme, mm. 68-74

The primary theme is a seven-measure phrase first stated by the guitar in mm. 39-

45 and later by the woodwinds, trumpet and violins. The piano accompanies this theme

with an ascending and descending chordal sequence and active bass voice.

18

EXAMPLE 2.11 Movement V: Secondary theme, mm. 53-67

The secondary theme, mm. 53-67, is stated by the tenor saxophone and guitar in

unison. This theme is a fifteen-measure melody marked by a contrast in underlying

harmony and change in rhythmic feel. The use of whole and half notes in the underlying

harmony help imply a “half-time” feel during the secondary theme. Some additional

harmonic characteristics include:

• The use of slash chord sonorities (ex. A/E in m. 56).

• Omission of thirds (ex. G13(no3rd/7th), m. 54 and Ab13(no 3rd), m. 55).

• Cluster groupings including the third voiced closely near a related pitch (ex.

placing third and fourth scale degrees a diatonic step apart).

19

2—C. DEVELOPMENT

The formal design in the development section is more loosely structured than the

exposition. As Douglass Green in Form in Tonal Music points out, “one reason for the

intense interest that many developments arouse is the fact that the listener cannot possibly

guess in advance what is in store for him.”11 This statement holds true in what we can

consider “development” sections.

Holiday in Reality departs from the norms of the big band tradition, which

typically conclude the development with a tutti section or “shout” chorus.12 The

development can also occur during a solo vis-à-vis instrumental backgrounds that allude

to a combination of previous or newer material. Thus, there are many possibilities that

can appear in combination with one another during the development.

MOVEMENT I

Contained in the development of Movement I, mm. 96-134, is an improvisatory

section for tenor followed by a transition, mm. 135-140. Helping divide this section is the

return of the 6/4 ostinato used during the primary theme. The tenor saxophone improvises

over this ostinato with no background figures. Eventually, the piano enters with the same

right-hand sonorities played during the primary theme.

Various instruments are introduced to support the soloist including flute, trumpet

and French horn. The intensity slowly builds towards m. 112 with a change in the

ostinato figure. This change includes additional measures using the cellos, brass and

11 Douglass M. Green, Form in Tonal Music: An Introduction to Analysis (Orlando: Harcourt Brace Jovanovich College Publishers, 1979), p. 202 12 It is here where jazz composers often incorporate material presented earlier in the work or introduce new material.

20

flute. A dovetailing effect occurs, beginning in m. 116, with the violins who enter with a

series of sustained pitches in octaves. All background material helps drive towards

DMaj7(11) in m. 122.

Following this, the underlying harmony of the secondary theme reappears. The

strings, flute and guitar emphasize ascending tonal centers that eventually arrive on

EMaj7(11) in mm. 131-134. The arrival of this chord also marks the conclusion of the

tenor solo.

A brief transition in mm. 135-40 appears reiterating the main melodic material

heard earlier in the exposition. The emphasis here is on increasing the rhythmic activity

and to arrive on A Phrygian in m. 139. This transition contrasts with material heard

earlier and the return of third theme afterward.

MOVEMENT II

One of the most distinctive elements of the development section in Movement II

is the underlying harmony that appears during the trombone solo, mm. 29-36. This differs

from the harmonic passage that appeared previously in the exposition. The initial solo

section is marked by AMaj7 with stepwise descending bass motion every two measures.

Eventually the strings enter over GMaj7(11) and A7(9) that lead into the next

passage. The same solo progression continues while the strings reiterate their background

motives based on the primary theme from the exposition. In m. 40, the trumpet, French

horn, flute and tenor saxophone fill in the space left open by the strings. Following this,

the cello, French horn and tenor play a melodic phrase borrowed from the first motive of

the primary theme.

The underlying harmony breaks from its pattern in m. 53. Here the harmony is

elongated and moves in four-measure increments, alternating between B and F Phrygian.

21

The final eight measures of the trombone solo show an increase in harmonic rhythm with

chords changing every measure.

After the trombone solo a new melodic theme is introduced with an interspersed

solo section for the tenor. During the tenor solo there is no harmonic support underneath

from the ensemble.

MOVEMENT III

In the third movement, the development begins in m. 69 with the tenor and piano

solos. The material used here is drawn from the underlying harmony of the secondary

theme. Soloists improvise primarily over the F pedal, however, this ostinato is broken

every three measures by E (add 9), AMaj7 and F (add 9).

Another important phrase that is developed are the two eighth notes on beat 4, m.

76, played by the string and brass. This is a prominent motive that also reappears at the

end of the piano solo on the third beat, m. 85. The motive originated earlier in the brass

accompaniment during the tenor solo, in the introduction, on the fourth beat of the second

measure.

Following the solos, there is an additional development section, mm. 86-100,

incorporating the entire ensemble. Beginning with a new four-measure phrase in m. 86,

this section advances towards m. 92 where the eighth note motive is developed further in

mm. 92-100. This becomes increasingly dense since the eighth-note motive is divided

and offset into two separate groups of instruments: (i) strings and flute, and (ii) tenor,

brass and guitar. This very brief division of instruments arrives together on the fermata in

m. 100.

A transition, mm. 101-116, appears with the strings and bass. This is

characterized by the pizzicato violin melody and the cello/bass accompaniment. It is also

22

rhythmically active using a variety of meter changes (4/4, 3/4, 6/4) grouped in three-

measure phrase lengths. The ascending bass line helps drive towards the return of the F

pedal in m. 114.

MOVEMENT IV

The development of Movement IV, mm. 43-76, features the tenor saxophone and

flugelhorn. Here, these instruments solo over the harmony from the exposition, namely

the descending C, B and A Aeolian chordal sonorities. This solo section is divided into

three eight-measure groups, the first two using the exposition harmony while the final

eight measures introduce newer harmonic material, including E/D and D minor

sonorities, in mm. 59-62.

There are background figures that emerge in the flute and strings. These figures

are new material and sequenced in descending two-measure phrases aligned with the

descending harmony.

The transition, mm. 67-76, appears in the flute, French horn, trombone and

strings. This material is a derivation of the background figures heard in the development.

A change in harmonic rhythm also helps outline this transition with chords moving every

two measures. The fermata in m. 76 indicates the end of the transition leading into the

piano melody that occurs in the ensuing section.

MOVEMENT V

The development in Movement V begins with the guitar solo, mm. 75-117. The

initial presentation of this solo uses the underlying harmony from the secondary theme

heard previously during the exposition.

23

In m. 90, new solo material appears and consists of a 14-measure phrase. This

section revolves around two new tonal centers: C minor and G7. The brass and tenor

backgrounds help accentuate the bass line motive in this section. In addition, the final two

chords of this phrase, A7 and Gsus4, help set up the return of C minor.

Following the guitar solo, a transition appears, mm. 118-125, in the strings and

piano. This section is an eight-measure phrase introducing new melodic material. The

cellos and piano carry the melodic content during this passage, while the violins support

this material with sustained chords. Eventually, the brass and flute enter in the final two

measures, mm. 123-125, leading into the tenor solo that continues in mm. 126-139. There

are no backgrounds that occur underneath the tenor solo and following the solo, the

secondary theme immediately returns signifying the beginning of the recapitulation.

24

2—D. RECAPITULATION

A majority of the jazz repertoire contains some form of a recapitulation, where

primary and secondary melodies reappear. In shorter works, such as lead-sheets13, this

section can be considered an exact repeat of the exposition. This section marks a return of

important melodic and harmonic materials that appear earlier, most often in the

exposition.

The recapitulation is important for providing a sense of symmetry and balance to

the overall structure of the piece. This often includes a modification in organization and

function, helping “wind down” or lead the work to a logical conclusion, often towards a

coda. In most cases, this section can be viewed as highlighting the most striking and

important thematic, harmonic and rhythmic elements that anchor the entire piece. The

reiteration of primary material, following developmental or transitional sections, provides

cohesion in understanding the overall form and shape of a work.

MOVEMENT I

The recapitulation in Movement I, mm. 141-164, is initiated during the

reappearance of the melodic transition that appeared earlier, mm. 71-74. This four-

measure theme returns in the bass and two cellos.

The primary theme returns in mm. 145-152 and is identical in appearance with the

same theme presented earlier in the exposition, mm. 75-82. This is followed by the

second theme that contains embellishments regarding orchestration. For example, the

13 A “lead-sheet” is a term referring to sheet music with a notated melody and accompanying chord symbols.

25

French horn is used as a melodic instrument, joining the woodwinds and trumpet in

playing the secondary theme.

One aspect during in the reappearance of the secondary theme is the repetition of

EMaj7(11). The four-measure phrase is doubled in length acting as a precursor to the

coda, mm. 165-183.

MOVEMENT II

In Movement II, there is a brief return of the primary theme, mm. 109-114, which

is very similar to the presentation of this theme heard earlier in the exposition, mm. 21-

26. One difference in the recapitulation is the addition of the trumpet joining flute, tenor,

trombone and guitar in reiterating the main melodic theme.

MOVEMENT III

The primary theme in Movement III returns for a final statement in the tenor and

cello and includes a new counter-melody played by the trombone and second cello.

The secondary theme also makes a final appearance, mm. 129-132, closing with

an eighth-note figure on beat 4, m. 132. This motive helps emphasize the beginning of the

guitar solo in the following measure.

MOVEMENT IV

In Movement IV, following the transition, mm. 67-76, new melodic material is

introduced. This can viewed as a new exposition since the melodic material is not derived

from earlier themes. However, a close inspection of the new 16-measure melody in mm.

90-106 reveals similarities with the primary theme heard in the first exposition. The

26

initial phrase of this new melody uses an interval of a major seventh heard earlier in mm.

17-24. This theme is repeated and strengthened by the addition of the flute and string

instruments.

The close of this section is cued by the final phrase played by the flute, tenor,

trumpet and first violins, m. 123. Here these instruments repeat the first three notes from

the primary theme heard earlier in the exposition.

MOVEMENT V

The recapitulation of Movement V, mm. 140-161, begins by reiterating the

secondary theme. The tenor, trumpet and guitar state this theme and are accompanied by

a counter-melody in the French horn, trombone and first cello.

The completion of this theme leads directly into a final statement of the primary

theme, mm. 155-161. Here the flute, tenor, trumpet and guitar present the theme with

underlying support from the left-hand of the piano and bass. This final reiteration leads to

the coda section, mm. 162-182.

27

ADDITIONAL ASPECTS OF FORM:

2—E. THE INTRODUCTION

The use of an introduction helps establish expectation, implying material that is

forthcoming, in the exposition, or it can act as an exclusive entity. The introduction can

appear as a series of sections containing rhythmic or melodic relationships or, in some

cases, bear no similarity with its constituent parts.

The introduction does not necessarily adhere to the primary harmony in the

exposition. There may not be a resemblance between themes in an introduction, however,

a connection may appear later on, since a part or parts of an introduction can reappear

during the course of a given work.

In Holiday in Reality the introductions play an integral role in shaping the overall

formal arc of the suite. The introductions can be viewed as a series of interactions that

draw attention to a particular instrument group or a combination of instruments. As the

music unfolds, the intent of the introductions become clearer—to eventually incorporate

jazz and classical elements with one another.

Beginning in the first movement, the string section is engaged in a lengthy

introduction that follows more closely with the classical tradition than jazz. The absence

of the rhythm section, woodwinds and brass help focus the attention solely on the strings.

The second movement begins with the tenor stating the primary theme

accompanied by the strings and drums. This is the first instance where the beginning of a

movement fuses jazz and classical instrumentation.

The introduction of the third movement is drawn directly from the jazz idiom.

This movement features an improvised solo in the tenor accompanied by bass and drums.

28

In the fourth movement, the tenor and cello are featured in a duet that sounds

improvised and yet is primarily composed of a series of melodic intervals that reemerge

later in the movement. As with the second movement, this piece combines both music

styles in the introduction.

The ebb and flow of the previous introductions become more resolute and clear in

the final movement. Here, in the last movement, the strings begin with a series of

sustained pitches while the tenor, muted trumpet and bass quietly emerge with a melodic

theme. The drum set helps fill in the empty spaces by “lightly” soloing underneath the

string and woodwind/brass interactions. This last movement can be understood as the

final result of the two styles fusing with one another.

MOVEMENT I

The introduction present in this opening movement consists of a string

introduction, mm. 1-52. Harmonically, this introduction is more ambiguous than the

material that appears in the recapitulation. There are, however, subsections within this

opening that follow certain harmonic expectations. One of these appears in mm. 22-46,

with a repetition of F in the first violins reinforcing harmonic/rhythmic intensity building

to the fermata, m. 46.

This opening section also hints at some of the melodic materials that will appear

in the exposition. One example of this can be found in mm. 44-45 where the violins play

a transposed version of the first idea of the primary theme.

Following the second fermata, m. 51, the rhythm section enters with an ostinato

figure. This ostinato is characterized by a rhythmically active bass line and Maj7(#11)

and sus4 sonorities.

29

MOVEMENT II

This is the only movement that has no introduction. The exposition occurs

immediately in the first measure with the tenor saxophone, string section and drums.

MOVEMENT III

The movement opens with an open improvised tenor solo with bass and drums.

Gradually their improvisation builds towards the F pedal and brass backgrounds that

appear in mm. 1-8. These brass backgrounds appear later in the development during the

piano solo.

MOVEMENT IV

This introduction is a feature for the cello and tenor saxophone, mm. 1-8. It makes

use of two phrases that are both initiated by the cello. Rhythmically and harmonically this

section is more open and freer than the ensuing exposition. One striking element here is

that each entrance begins with a major seventh interval, which appears frequently

throughout the movement.

Another characteristic of this introduction is the final cello phrase in m. 8.

Beginning on D the cello plays a wide arpeggio that ascends to G, above middle C. This

is an important phrase since this is re-orchestrated at the very end of the piece in the

string section and piano, mm. 124-126.

MOVEMENT V

The introduction, mm. 1-34, begins with a sparse flute, string and brass figure. As

this material gradually unfolds a melodic phrase appears in the tenor, muted trumpet,

guitar and bass, mm. 10-13. This phrase is transposed and reappears two additional times.

30

The string section carries the introduction further with a seven-measure phrase, mm. 24-

30, leading to the G pedal, mm. 31-34, that drives the passage towards the piano ostinato

in m. 35.

2—F.

THE CODA

All of the movements in Holiday in Reality use some form of a coda. In the

examination and analysis of this suite, conclusions can be drawn regarding a coda’s

function and relationship to overall form, including:

• Use of new material.

• Use of previously heard material, from any previous section14 (a)

replicated exactly (excluding any transposition), or (b) modified (through

melodic, harmonic or rhythmic variation).

• Prolongation of important tonal centers borrowed from previous sections.

• Often divided into clearer sections or subsections.

• Notable for its brevity since less emphasis is placed on developing

melodic ideas.

• The absence of a coda.

MOVEMENT I

The coda in mm. 165-183 is initially led by the guitar with its planed quartal

sonorities on top of a four-measure rhythm section ostinato. In m. 173, the flute,

saxophone and violins enter with a rhythmically off set and elongated statement of the

primary theme.

14 Including the introduction, exposition, development and recapitulation.

31

MOVEMENT II

There is an absence of a coda in this movement. Instead, this piece ends by

repeating the third and fourth measures heard earlier in the primary theme.15 The tenor

and trombone improvise collectively in the final few measures.

MOVEMENT III

The coda occurs during the guitar solo in mm. 133-136, however, similar to the

introduction, the rhythm section is directed to improvise freely and gradually build into

the indicated bass line in m. 133. The pianist provides harmonic support for the guitar

using the chords that appear in mm. 137-140. This coda presents new material and

consists of a four-measure harmonic phrase.

MOVEMENT IV

The final section of this movement helps bring cohesion to the overall form since

the first ascending major seventh interval of the primary theme reappears in m. 123. This

is followed by a re-orchestrated version of the cello motive, m. 8, with strings and piano.

MOVEMENT V

The coda, mm. 162-182, begins by repeating the last two measures of the primary

theme. Following the repeat of this section, a new subsection appears in m. 170. This can

be considered a continuation of the earlier passage, however, one of the key differences is

the addition of a more active bass line joined by the flute, tenor and brass.

15 Often referred to as a “tag” section in jazz. Using the last phrase of an A section of the melody.

32

Both the accelerando and new melodic material in mm. 170-174 bring the

movement to an energetic conclusion. This new melody first appears, m. 174, in the flute,

tenor, violins and guitar. The phrase increases rhythmic and harmonic tension using notes

that clash with the bass line underneath. An example can be found in mm. 179-180 with

the use of G and G against the active bass line, whereby the coda comes to rest on B-7.

33

Chapter 3: Harmony

This chapter offers an overview of the harmonic principles and chord vocabulary

at work in Holiday in Reality. The harmonic analysis provides an impression of the

common harmonic language that shapes these works. A summary of general

characteristics including harmonic progressions, cadences, ostinatos and harmonic

vocabulary is followed by a discussion on the use of close and open voicings.

3—A. HARMONIC PROGRESSIONS

The linear foundation of chord generation defines the distinctive harmonic

passages throughout this suite. The principles of both contrast and continuity are applied

in each movement. A comparison of three distinct harmonic passages will illustrate some

of the issues that help in defining common harmonic progressions. The three examples

are drawn from:

• Movement II Primary Theme (mm. 1-4)

• Movement IV Primary and Secondary Themes (mm. 21-32)

• Movement V Secondary Theme (mm. 53-67)

34

Example 3.1 Harmony of Primary Theme, Movement II, mm. 1-4

Example 3.1 illustrates the harmonic progression appearing in the primary theme

from Movement II. The stepwise descending bass motion helps drive the progression

toward A°7/B and is followed by the interval of a major sixth to D-13. The use of

common tones and half-step voice motion help connect each chord. For example, both C

and A are common tones between C6 (no3rd) and A°7/B.

Example 3.2 Tonal Structure of Melody and Bass voice, Primary Theme, Movement

II, mm. 1-3

Example 3.2 further illustrates the descending bass motion appearing underneath

the melody. Following A°7/B, one would most likely assume a return to tonic, in this

case E, as a sus4 or Maj7th sonority. Instead, the bass line moves from B to D creating

a “false resolution”.16 In the melody, however, it resolves to E as one would expect, yet

16 This term is the same as an evaded cadence. William Caplin, in his book Classical Form, defines an evaded cadence as “the failure of an implied authentic cadence to reach its goal harmony. The event appearing in place of the final tonic groups with the subsequent unit and (usually) represents the beginning of a new cadential progression.” (p. 254).

35

the bass motion performs otherwise. False resolutions often make an appearance at the

end of phrase endings and help lead into the next phrase.

Example 3.3a Primary/Secondary theme, Harmonic Progression, Movement IV, mm. 21-

32

Example 3.3a illustrates the harmonic progression in the primary and secondary

themes of Movement IV. The primary theme begins with two parallel Aeolian chord

structures that descend using stepwise root motion. This is followed by an A Aeolian

sonority, voiced differently than the two previous Aeolian sonorities since it includes the

fifth and lowered-sixth scale degrees in the lower voices. Overall, the parallel nature of

stepwise root motion and parallel Aeolian modes help give this primary theme its

continuity.

The secondary theme employs a different harmonic pattern since it moves away

from stepwise root motion. This secondary theme features a slower rate of harmonic

change, with new chords appearing every two measures and using different chord

36

qualities, including sus4, minor, Maj7 and minor (Maj7) chords. Important common

tones allow for a smoother transition into the next chord. The Asus4 and FMaj7(11)

chords share many similar pitches, however, the F and C present in the Asus4 in m. 25

appear as F and C in FMaj7(11) two measures later. Following this, E-9 appears in m.

29 sharing many similar chord tones with the previous two sonorities. The E-9 and Aus4

chords share F, which is an important pitch that appears in the melody and E-9 voicing.

The tritone root motion between E-9 and BMaj7, in m.31, helps initiate the return

of the primary theme. The nature of tritone root movement is more disjunct than root

motion by step or a third. Beginning with BMaj7 the root motion descends a fourth to F-

(Maj7). The A from BMaj7, descends by half-step to A in F-(Maj7). This A helps

anticipate the return of the lowered or minor-sixth scale degree of C Aeolian, in m. 33,

thus marking a return of the primary theme.

Another harmonic characteristic that often recurs is the use of half-step motion in

the bass, helping to demarcate the entrance of a new section. Half-step motion can

function as either a descending 2 or by an ascending leading tone. This occurs above in

Example 3.3a, mm. 24-25, as descending 2 motion between B Aeolian and Asus4.

Ascending half-step root motion appears in Movement V, mm. 33-35. Here the

Gsus4 in mm. 33-34 resolves by half-step parallel motion to Absus4 in m. 35. The

ascending half-step of G-A helps initiate the beginning of the piano ostinato and

prepares the primary theme for its B tonal center. Example 3.3b illustrates this ascending

half-step root motion.

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EXAMPLE 3.3b Ascending leading tone root motion, Movement V, mm. 33-35

Example 3.4 illustrates the secondary theme from Movement V. This passage

contains similar upper structure chords while the bass motion takes on more of a melodic

role.

EXAMPLE 3.4 Movement V: Secondary Theme, mm. 53-67

The AMaj7/C sonority is introduced in the first measure of the secondary theme.

The pitches A-C-E are central to the upper structure sonorities throughout this passage.

38

Since these chords have similar upper structures, the bass motion helps guide the

harmonic progression.

EXAMPLE 3.5 Movement II: Trombone solo harmonic progression, mm. 45-68

Example 3.5 illustrates the underlying harmonic motion appearing in Movement

II, mm. 45-68. The stepwise bass motion of mm. 45-50 and mm. 51-52 contrasts with the

elongated Phrygian material that follows in mm. 53-68. The extended four-measure

phrases of the Phrygian modes contrast with the previous solo section material in mm.

45-52.

In comparing the harmonic examples from Movement II and IV one can draw

conclusions regarding the patterns of harmonic motion. The primary and secondary

themes in both movements are clearly defined with contrasting changes in harmonic

color. Very often, the secondary theme acts as a release from the repetitive harmonic

motion that often appears during the primary theme. Also, harmonic material present in

either the primary or secondary theme can reappear in the development, most often in

improvisatory passages.

39

Another common trait within this suite is the use of tritone bass motion, appearing

most often near cadential phrases. In Example 3.5, the interval of a tritone appears

between AMaj7/C and GMaj7(11). This interval also appears in Movement IV during

the secondary theme, between E-7 and BMaj7 (see Example 3.4).

A feature commonly used in Holiday in Reality is the use of parallel harmonic

motion. One example is the use of parallel sus4 sonorities, either ascending or descending

a whole-step apart (Example 3.3b, p. 37). The sus4 sonority, with its absence of the third-

scale degree, provides ample opportunity of establishing a prolonged chord sequence

with weaker or less defined tonal centers.

Parallel harmonic motion provides easier stepwise voice-leading between chords.

The parallel Aeolian sonorities found in the primary theme of the fourth movement

(Example 2.8, p. 15) illustrate this point. The piano in mm. 9-12 performs this series of

Aeolian sonorities in parallel motion. Beginning with the C Aeolian sonority, a similar

voicing is used for the B and A Aeolian sonorities in the preceding measures.

3—B. CADENCES

An issue that often arises during the compositional process is addressing

harmonic arrival points and choosing opportune moments where harmonic tension can be

released. Since the 1960s, many jazz composers including Wayne Shorter, Joe

Henderson, Dave Holland and Kenny Wheeler have composed music that obscures

traditional ii-V7 cadences with a myriad of other chord choices and devices. Among the

common devices used in their music are pedal points, “slash” chords and false cadences.

40

EXAMPLE 3.6 Cadence, Primary Theme, Movement I, mm. 62-63

Example 3.6 shows a cadence appearing at the end of the primary theme in

Movement I, mm. 62-63. This cadence provides a more ambiguous impression of an A7-

DMaj7 progression. Here the root motion of A-D implies an authentic cadence,

however, the expected upper structures are different, particularly since the important

thirds and sevenths found in an authentic cadence are absent. Also, with the absence of

the tritone C-G in the Asus4 there is no longer a strong pull towards a resolution. This is

further obscured by the arrival of the E/D chord in the next measure, since neither the

third or seventh of a D chord appears, thus weakening the resolution.

EXAMPLE 3.7a Movement IV: Secondary theme cadence, mm. 31-33

(m. 31-33)

BMaj7 F-(Maj7) C Aeolian

VII iv i

41

Example 3.7a depicts the cadential progression at the close of the secondary

theme in Movement IV, mm. 31-33. This cadence incorporates a mixture of double

“plagal” motion paired with the unexpected chord qualities of Maj.7 and min(Maj7)

followed by a resolution to an Aeolian chord structure.

This example is similar to a “backdoor” cadence in that it uses the subdominant

(iv) and subtonic (VII) sonorities, rather than the traditional circle of fifths resolution.

Example 3.7b on the ensuing page reveals a comparison of these two progressions.

42

EXAMPLE 3.7b

(a) “Backdoor” cadence: (b) Mvt IV Secondary theme cadence:

iv -VII - i VII - iv - i

Example 3.7b emphasizes the placement of the subdominant and subtonic in each

of these cadences. An obvious distinction between these progressions lies in their upper

structure sonorities. In the secondary theme cadence, the subtonic appears as BMaj7

rather than a dominant sonority and the subdominant appears as F-(Maj7) instead of a

minor seventh. These cadences share similar root motion with different chord sequences.

Example 3.8 Voice leading for VII-iv-i cadence Moving voices (solid lines)

BMaj7 F-(Maj7) C Aeolian VII iv i Stationary voices (dotted lines)

Example 3.8 illustrates the VII-iv-i cadence as it appears at the conclusion of the

secondary theme in Movement IV. This reveals the common tone voice leading occurring

43

between each chord. Common tones are important since they function as a pivot or

fulcrum linking similar pitches contained between successive foreign chord types.

3—C. OSTINATOS

Ostinatos are useful compositional devices that can be found in virtually all music

style periods. These help emphasize a harmonic or rhythmic pattern and are useful in

framing a particular section. Many jazz composers use ostinatos as a starting point when

introducing their melodic themes. A few composers that have inspired the use of ostinato

figures in this suite include jazz composers David Binney, Vince Mendoza and Maria

Schneider. Ostinatos are an effective way of creating tension and excitement. They also

provide an excellent vehicle for solo development.

One of the most prominent ostinatos in the entire suite can be found in Movement

I, mm. 53-54. This two-measure ostinato plays a very prominent role throughout the

movement. It serves as an introduction and as accompaniment for the primary theme that

begins in m. 55 and reappears during the tenor solo beginning in m. 96. Example 3.9 on

the ensuing page illustrates this ostinato that first appears in the rhythm section following

the string introduction.

44

EXAMPLE 3.9 Movement I: Rhythm section ostinato, mm. 53-54

Another important two-bar ostinato appears in Movement V, mm. 35-45.

Beginning in the piano, mm. 35-36, this ostinato appears in the ensuing measures during

the presentation of the primary theme in Movement V, mm. 39-45. This is shown in

Example 3.10a below.

EXAMPLE 3.10a Movement V: Piano ostinato, mm. 35-36

EXAMPLE 3.10b Movement IV: Piano ostinato, mm. 9-12

45

Example 3.10b is a four-bar piano ostinato that appears in the primary theme of

Movement IV. Both examples use stepwise bass motion, in the first case, ascending and

descending in 3.10a and moving in the opposite direction in 3.10b.

3—D. HARMONIC VOCABULARY

One of the most characteristic chord types that appear in Holiday in Reality is the

Maj7(11) chord. This sonority often functions as a harmonic arrival point. Depending on

how this chord is approached, the Maj7(11) is more unstable than the tonic (I) chord

often found in more traditional ii-V7-I resolutions. It is a darker and more unresolved

chord, often creating a feeling of unrest or uneasiness. Examples 3.11a-d illustrates four

different voicings of GMaj7(11) appearing in Holiday in Reality.

EXAMPLE 3.11a-d Four examples of GMaj7(11) voicings from Holiday in Reality

(a) Mvt. I, m. 51 (b) Mvt. V, m. 60 (c) Mvt. III, m. 62 (d) Mvt I, m. 181

Example 3.11a depicts the Maj7(#11) as it appears in the strings in Movement I.

The cellos play the tonic and major seventh interval of the sonority while the violins

emphasize the 3rd, 11th, and 13. This is the most common way in jazz that the Maj7(#11)

is expressed, in particular, with the lower voices playing the root and major seventh.

46

The voicing in Example 3.11b expresses the GMaj7(11) sonority while omitting

the major third. The inner voices emphasize the 5th, 11th, and 13 while in the outer voice

the tenor, guitar and violin emphasize the raised-eleventh an octave above.

Example 3.11c illustrates a wider GMaj7(11) voicing found in the third theme

of Movement III. This chord has a distinct sound since the flute plays in its upper register

emphasizing the fifth scale degree while the #11 is expressed an octave below by one of

the violins. This voicing places more emphasis on the major seventh located in the inner

voices. The lower two voices are separated by an interval of a major ninth that differs

from Example 3.11a.

The GMaj7(11) in Example 3.11d is placed in a higher register than the other

three examples. The 11 is emphasized by an octave in the tenor and trombone. Also, two

of the inner voices are a minor second apart, F-G.

Another manner in which this sonority is commonly used is as a passing chord.

This is a common device found in the music of Kenny Wheeler and Dave Holland, where

this chord is used in lieu of the supertonic (ii) or dominant chord (V7).17 EXAMPLE 3.12 Solo Trombone Progression, Movement II, mm. 29-36

Example 3.12 shows the harmonic progression in the trombone solo from

Movement II. Here the GMaj7(11) in m. 35 moves stepwise to the A7(9) and returns

to the beginning of the solo progression. These two chords virtually contain the same

17 Dave Holland’s composition “Second Thoughts” makes use of Maj7 (#11) as passing chords.

47

pitches, the only difference occurring between the B in the GMaj7(11), descending to

the A in the A7(9). This A resolves in the next measure to the AMaj7/E chord.

3—E. VOICINGS

The analysis below identifies the most characteristic voicings that appear in

Holiday in Reality, including sus4 chords containing the major third scale degree and

chords that omit the seventh scale degree. These chord types share a similar characteristic

of emphasizing tonal ambiguity rather than containing essential chord tones, such as the

third or seventh. Several examples of these chord types are offered below and help reveal

general characteristics of how these chords are voiced.

EXAMPLE 3.13a-c Sus4 chords containing third scale degree (a) Movement II, m. 1 (b) Movement I, m. 30 (c) Movement IV, mm. 25

Examples 3.13a-c show suspended fourth sonorities containing their major third

scale degrees in the top voice. This sonority contains two important intervals embedded

within the voicing that help create the distinctive timbre. The first is the major seventh

48

interval present between the fourth scale degree, appearing in one of the middle voices,

and third scale degree, appearing in the top voice. The second interval is the major tenth

between the outer two voices. Both of which are identified by the dotted line in the

examples above.

Example 3.13a shows the first measure from the primary theme of Movement II.

Here a G-natural is placed above an E sus4. While the seventh of the Ebsus4 is absent,

the consonant interval of a major tenth between the outer voices helps stabilize this

sonority.

Example 3.13b reveals a measure from the string introduction in Movement I. The

third scale degree of the Dsus4 is placed in the top voice. The intervallic relationships

are identical in both Examples 3.11a and 3.11b.

Example 3.13c is the first chord that appears in the secondary theme of Movement

IV. The opening statement of the melody emphasizes the C of the Asus13. In this

example, the fifth scale degree emerges in the melody rather than in the chord voicing

underneath.

EXAMPLE 3.14a-c Omission of Sevenths from Chord Voicings:

(a) Mvt. II, m. 2 (b) Mvt. IV, m. 76 (c) Mvt. III, m. 33

Examples 3.14a-c reveals chord sonorities that omit the seventh scale degree. In

Example 3.14a, this chord places the #11 and #5 pitches in the inner voices and the third

49

scale degree in the outer voice. Even though the seventh is not present, this sonority still

implies a DMaj7(11) chord since a tritone interval is present between tonic and the

sharp eleventh.

Example 3.14b is supported by the major third, doubled at the octave in the

middle and outer voices. The placement of the sharp five above the root of the chord

helps reinforce the ambiguity of this chord since the lower voices of a sonority normally

contain chord “defining” tones such as the third, fifth or seventh.

Example 3.14c from Movement III places the third scale degree in the middle of

the voicing. This sonority places greater emphasis on the upper structure tones, in

particular the 13th and 9th scale degrees.

VOICINGS: CLOSE TO OPEN

The examples below provide a comprehensive overview of how voicings are

expressed, ranging from close voicings to more open voicings, within the different

sections of the ensemble.

Example 3.15a illustrates a close Bb-7 voicing in the string section from

Movement I, m. 64. The fifth scale degree is doubled an octave apart while the inner

voices express the third and seventh scale degrees.

Example 3.15b and 3.15c are examples of close voicings incorporating the strings,

brass and woodwinds. Example 3.15c illustrates the violins voiced in thirds while the

brass and tenor are voiced in fourths and the flute is positioned an octave above the upper

violin.

Example 3.15d reveals a wider voicing in the string section from Movement I, m.

51. This is the final chord played by the strings during their introduction. The range of

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this voicing covers more than two octaves, with violin I playing a high E and cello II

playing its low G.

Example 3.15e and 3.15f reveal a rising tessitura, particularly in the string section.

Example 3.15g is distinct for the space between the upper violins, flute and

trumpet. The tonic F is only played by cello II, above middle C, and is placed a major

second away from cello I. Example 3.15h illustrates the last chord in Movement V, m.

182, the most open voicing in Holiday in Reality. Here the two upper violins fill the space

left open between the flute and trumpet.

EXAMPLE 3.15a-h Voicings (Close to Open)

(a) Mvt. I, m. 64 (b) Mvt. II, m. 19 (c) Mvt. IV, m.42 (d) Mvt. I, m. 51

Close

(e) Mvt. III, m. 100 (f) Mvt. II, m. 28 (g) Mvt. III, m. 64 (h) Mvt. V, m. 182

Open

51

Chapter 4: Melody

An analysis of the melodic themes in Holiday in Reality reveals a similarity in

their basic structural elements. These components include the use of repetition, contrast,

climax, return and balance.18 As found throughout this work, melodies follow a logical

contour, shape and proportion that help to provide cohesiveness to the entire work.

In every movement, both primary (PT) and secondary themes (ST) are comprised

of two or more phrase ideas, each of which contains at least two motives. Typically, an

idea is stated, repeated or fragmented, and answered by a second idea. Thus, the melodies

are often constructed using a “question and answer” pattern.

There are a few common traits that help to identify the individual motives. These

include the use of space, change in rhythmic activity or change of register. The most

obvious break within an idea occurs when there is space created by rests. These help to

demarcate important motivic divisions, functioning similar to punctuation in a sentence.

The following examples demonstrate the application of the melodic criteria.

Motives are analyzed with respect to their inherent potential and followed in their actual

intervallic and rhythmic development. A closer examination will reveal how these

motives function within the overall scheme of each movement.

18 Arthur C. Edwards, The Art of Melody (New York: Philosophical Library), p. xxx (preface)

52

4 – A. MELODIC THEMES

EXAMPLE 4.1 Movement I: Primary theme, mm. 55-58

Example 4.1 illustrates the initial descending gesture of motive a continuing with

a large interval in the opposite direction. Here the half-steps D-C and F-G are pivotal in

establishing both the melodic direction and harmonic motion of this idea. The

neighboring D descending to C emphasizes the raised eleventh of the GMaj7(11)

sonority. This same principle applies to F-G on beat 4, emphasizing the major seventh

and tonic of this sonority. A leap of a major seventh (G-F) occurs leading into the fifth

beat. This F brings the initial motive to a momentary resting point. In the next measure,

motive b answers with a short statement that comes to rest on the D.

Motive a, in the second idea, is characterized by ascending contour with an

occasional interval breaking its direction. This is answered by motive b consisting of a

brief four-note gesture.

A comparison of motive a, from the first and second ideas, reveals contrasts in

direction and melodic density. While a comparison of motive b, in both ideas, reveals

53

their brevity and how they both come to rest on the unresolved fourth scale degree of the

underlying Asus4 chord, thus generating momentum into the next phrase.

EXAMPLE 4.2 Movement IV: Primary and secondary themes, mm. 17-20 and 25-32

Example 4.2 reveals the primary and secondary theme melodies from Movement

IV. The first idea, in the primary theme, is initiated with an ascending major seventh

interval E-D and immediately descends in arpeggiated fashion towards G in mm. 18.

The G is emphasized as an important pitch since it falls on the first beat and helps

initiate the escape tone contour of G-F-C. Following the momentary pause on C, the

secondary idea begins with a descending scalar idea arriving on B in m. 19. The close of

this secondary idea is achieved by the emphasis on D in m. 20. The upper-neighbor tone

E helps reinforce the D as the final pitch in this motive.

In comparison to Movement IV primary theme ideas, the secondary theme ideas

are more loosely organized. The secondary theme begins with a short fragmented motive

that precedes the first idea and returns as the opening motive of the second idea. The first

54

idea, beginning on the fourth beat, m. 26, consists of two similar motives. Motive a is an

ascending arpeggiated motive emphasizing the underlying F Maj7(11) sonority. Motive

b closely mirrors this idea, using the same rhythm, similar ascending arpeggiation and

arriving on the seventh of the underlying E-7 chord. The first idea leads directly into the

secondary idea, which in turn, leads directly back to the primary theme.

EXAMPLE 4.3 Movement III: Primary theme, mm. 13-24

Example 4.3 reveals the melodic material comprising the primary theme of

Movement III. The first idea focuses on major and minor thirds. Motive a ascends a

minor third, A-C, and continues with a descending major third interval E-B. The motivic

and intervallic construction of the first idea is extended into the second idea, beginning in

m. 16. Motive a revolves around B whereas motive b ascends and emphasizes D in the

next measure.

The third idea extends this motive even further, by fragmenting the rhythm and

ascending by major third in mm. 19-20. At that point, motive b of the third idea initiates a

55

descent of an octave toward an A. Motive c closely mirrors motive b, in particular, with

its concluding neighboring tone figure that begins at the start of motive b and returning at

the end of motive c.

The first idea begins with an A and the third idea comes to rest on the same pitch.

Therefore, this entire primary theme can be understood as an extended ornamentation of

an A over an F pedal.

In every movement, the primary theme returns following the secondary theme.

This helps reiterate important thematic material, providing unity and symmetry within the

exposition and the entire piece.

4 – B.

INTERVALLIC TENSION

Characteristic intervals and the way they function within the harmony are

important considerations. The use of the major seventh is one of the most prominent

intervals in Holiday in Reality. In Example 4.4a and 4.4b, the major seventh appears in

the string introduction from Movement. I, mm. 2-3. This is played three times and

reappears transposed down a minor seventh two measures later. Example 4.4c illustrates

the primary theme of Movement I where the major seventh interval appears in the

opening motive.

Movement IV uses the major seventh extensively. The tenor/cello introduction

begins with a series of major sevenths, alluding to the primary theme material that

follows. Example 4.4d illustrates this opening motive from Movement IV. The new

melodic material that arrives near the end of Movement IV, mm.91-123, paraphrases the

earlier stated primary theme, which also begins with an ascending leap of a major

seventh. This is shown in Example 4.4e below.

56

Major sevenths also appear in the secondary theme of Movement V. Example 4.4f

shows a descending C-D melody and how it is answered in the next measure with an

ascending A-G.

EXAMPLE 4.4a-f Melodic use of major 7th interval:

(a) Mvt. I, mm. 2-3 [Intro] (b) Mvt. I, m. 5[Intro] (c) Mvt. I, m. 55[PT]

(d) Mvt. IV, m. 17[PT] (e) Mvt. IV, mm. 90-91[New PT] (f) Mvt. V, mm. 60-61[ST]

4—D.

RELATIONSHIP BETWEEN MELODY AND HARMONY

The interplay of melodic content in relation to its underlying harmony is

an important facet of Holiday in Reality. A comparison of melodies that are

strictly diatonic with others that introduce various levels of chromaticism appears

below.

57

EXAMPLE 4.5 Movement I: Primary theme, mm. 55-58

Example 4.5 shows a diatonic melody appearing in the primary theme from

Movement I. A comparison of both melody and ostinato reveals minimal harmonic

tension between these two voices. In mm. 55 and 57, all the pitches belong to G Lydian,

which is the scale most closely, associated with GMaj7(#11), while the pitches in mm.

56 and 58 adhere closely to Asus4 and avoid C. The avoidance of chromatic passing

tones and altered upper structure pitches maintain the melody’s diatonic character.

58

EXAMPLE 4.6 Movement V: Introduction of chromaticism to melody, mm. 179-181

Example 4.6 reveals how melody and harmony interact. In this example, many of

the melodic pitches are drawn from the underlying AMaj(add11). However, there are

brief moments of chromaticism that appear in the melody, especially with the use of the

chromatic appoggiaturas emerging on the fourth beats of mm. 179-180. Beginning in m.

179, there is a brief moment of chromaticism with the appearance of G over G in the

bass line. In m. 180, G and G appear over B in the bass line, while this is not as

dissonant as the previous measure the repetitive motive is important to analyze in each

instance, especially because of the active bass motion. In m. 181, the melodic figure

occurs on the fourth beat and is transposed a whole-step above the previous two

measures. The half-step motion of A and A is less dissonant because of the consonant

relationship of these two pitches with the bass.

59

EXAMPLE 4.7 Movement I: Increased chromaticism [String introduction], mm. 14-16

Example 4.7 reveals one of the most chromatic passages to appear in Holiday in

Reality. In this excerpt, the relationship between the melodic content and underlying

harmony breaks down. This follows a pattern similar to improvisatory sections that

appear in the development, where the improviser can explore chromatic tensions that lay

outside the harmony. By following a pattern of logically unconstrained or freely

associated ideas, the improviser can create an interplay of intervals similar to the string

example shown on the preceding page.

The intervallic relationships in Example 4.7, between the two cellos, are at odds

with one another in m. 14. Following the octave B, this intervallic tension continues in

the cellos with the appearance of a minor ninth, B-B, appearing on the “weak part” of

beat three. B is also present in the violins creating a major seventh interval between the

B of cello I and the B of violin II. These wide and relatively dissonant intervals, that

resolve chromatically, help create intervallic tension between the melody and harmony.

Measures 15-16 continue with brief minor second glissandos that overlap with one

another, eventually resolving in m. 20 on an F separated by octaves.

60

Chapter 5: Rhythm

No matter what harmonic or melodic devices are occurring, rhythmical contrasts (for example between fast and slow) will be the outstanding feature heard, especially in jazz music. The often neglected use of space creates a sense of breadth which helps to highlight ideas.19

Dave Liebman’s quote helps emphasize the importance of incorporating a variety

of different rhythms. Similar to the contrasts found in harmony and melody, rhythmic

variations help accentuate the different sections within Holiday in Reality. Changes in

tempo, rhythmic feel (swing versus latin for example) and an increase or decrease of

rhythmic tension are compositional devices that help create this contrast.

Holiday in Reality features the frequent juxtaposition of symmetrical and

asymmetrical rhythms. Normally, a series of symmetrical rhythms is followed by an

abrupt asymmetrical passage, often during a transitional section. This helps maintain a

sense of unpredictability throughout a piece and strengthens the return of symmetrical

rhythmic passages.

The sequencing of a rhythmic pattern helps reinforce predictability. Similar to the

value of surprise in harmony and melody, the aesthetic of building expectation and then

changing direction is applicable with rhythm. The use of ostinatos establishes a consistent

and recognizable pattern, which builds an expectation for the listener. This can be

contrasted with new material that incorporates different rhythms or increases rhythmic

density.

19 Dave Liebman, Self-Portrait of a Jazz Artist (Rottenburg: Advance Music, 1988), p. 11

61

5—A. Rhythmic Feel

In each movement, the majority of rhythms incorporate a straight eighth-note feel.

This contrasts with a swing feel, which places accentuation on the subdivisions of the

triplet. In either case, rhythmic accents in Holiday in Reality generally fall on the

backbeats of a measure, namely beats two and four.

The most prominent use of a swing feel and swing rhythms appears in Movement

II. Here the rhythmic character alternates between a swing and straight-eighth note feel.

This juxtaposition of straight eighth notes and swing helps demarcate the formal division

between the primary and secondary themes.

EXAMPLE 5.1 Movement II: Swing and straight eighth-note rhythms, mm. 1-20

Example 5.1 offers a comparison of the rhythms that appear in the primary and

secondary themes from Movement II. The primary theme rhythm is characterized by an

emphasis on quarter note and dotted quarter-note rhythm lengths. In the secondary theme,

the rhythms are more active showing an increased use of syncopated rhythms. There is

continuity between these two examples since the phrasing of the melody in the secondary

62

theme adheres more closely with the dotted-quarter-note syncopations of the primary

theme.

Characteristics of rock music also appear, namely the use of repetitive ostinato

figures and backbeats.20 Examples 5.2a-b reveal the appearance of backbeat rhythms in

the first and fifth movements. Both examples use a straight eighth-note rock feel.

EXAMPLE 5.2a Ostinato Rhythm, Primary Theme, Movement I, mm. 53-54

Example 5.2a illustrates the 6/4 ostinato from Movement I. The strong accents

that appear on “weak” beats 2, 4 and 6 help anchor the syncopated bass line.

EXAMPLE 5.2b Ostinato Rhythm, Primary Theme, Movement V, mm. 35-36

Example 5.2b depicts the piano ostinato from the primary theme in Movement V,

mm. 35-36. In this example, the backbeat emphasizes the beats left open by the piano

ostinato.

20 A backbeat emphasizes beats 2 and 4 in a measure of 4/4.

63

5—B. Rhythmic Displacement

It is important to address the role of rhythmic displacement in Holiday in Reality

and to determine how this functions within the overall scheme of phrase and theme

organization. The idea of repetition helps establish a predictable pattern, thus creating a

stronger sense of contrast when a new idea emerges. Displaced rhythms create a sense of

imbalance and help to generate forward momentum. This is achieved by varying the

frequency of disjunct rhythmic figures, offbeat accents and the degree of rhythmic

activity.

EXAMPLE 5.3 Movement I: Transition rhythm, mm. 135-138

Example 5.3 illustrates the rhythm as it appears in the transitional passage in

Movement I, mm. 135-140. Rhythms A and B are two separate rhythmic ideas that are

repeated in the ensuing measures. The difference between these two rhythms lies in the

displaced rhythm where the dotted quarter note of rhythm A is displaced by one eighth-

note in Rhythm B. In m. 138, rhythm B’ is different since it omits the eighth note that

falls on the fifth beat of rhythm B.

64

5—C. Additional Rhythmic Characteristics

IMPLIED HEMIOLAS

EXAMPLE 5.4 Movement III: 3/4 over 4/4 Hemiola, mm. 35-36

Example 5.4 illustrates the 3/4 hemiola appearing in the secondary theme of

Movement III, mm. 35-36. The dotted quarter-note rhythm implies two measures of 3/4

that occur across the barline. This momentarily disorients the rhythmic content since the

material preceding these measures falls on strong beats. The quarter notes on the third

and fourth beats of the second measure abruptly mark the end of the hemiola.

CONTRAST OF RHYTHMIC SYMMETRY AND ASYMMETRY

In a search for more variety and rhythmic contrast, the use of contrasting

symmetrical and asymmetrical rhythms helps create variety in this suite. This contrast is

achieved between the rhythmic tension inherent in asymmetrical rhythms and in the

stable nature of symmetrical rhythms.

65

EXAMPLE 5.5 Movement V: Melody and bass rhythm, mm. 46-52

Example 5.5 depicts the rhythm of the melody and bass motion of the primary

theme in Movement V. Measures 46-60 consist of a five-measure phrase with two

asymmetrical rhythms, both in the primary theme (in the upper voice) and the bass.

Following this passage, the two contrasting voices momentarily converge with a two-

measure symmetrical phrase, in mm. 51-52. The brief merger of these two voices helps

demarcate the end of the primary theme.

An important consideration when writing rhythm section parts is to achieve a

balance between notated and improvised passages. In many instances in Holiday in

Reality, the rhythm section adheres closely to “written-out” voicings, bass lines and

rhythms. There are other cases, especially during solos, where the rhythm section

performs a traditional accompanying role with the piano or guitar “comping”, the bass

“walking” and drums playing time and “filling” in the spaces left open by the soloist.

66

One of the features of the rhythm section is to help reinforce variety and unity.

The musical situation helps determine whether or not the rhythm section participates with

specifically notated or improvised parts.

67

Chapter 6: Orchestration

The chosen instrumentation featured in Holiday in Reality is uncommon in most

jazz settings. With the added violins and cellos, this offers an even greater array of colors

to the overall texture and timbre of the ensemble. Careful consideration of dynamics,

blend and balance across the ensemble provide a more uniform and cohesive sound.

Movements IV and V offer more timbral variation than the others. The instrument

combinations enhance the thematic organization of these two movements. This is

discussed in further detail below.

6—A. LAYERING OF VOICES

A common orchestrational device is the layering of instrument combinations.

Similar to increasing rhythmic density, increasing the layering of instrument

combinations helps maintain and strengthen forward momentum. The very nature of

increasing this density, whether rhythmically or instrumentally, incites feelings of

uneasiness and excitement.

In the secondary theme of Movement V, mm. 53-67, there are three instrument

combinations that emerge. The counter melody in the French horn and cello appear two

beats before the start of the main melodic theme in the tenor and guitar. Example 6.1

reveals the entrances of each of these layers.

68

EXAMPLE 6.1 Movement V: Secondary Theme, mm. 53-67 (Measure): 53 58 62 67 (end of ST) Melody (Tenor/Guitar) Counter-melody (French horn/Cello 1) Reinforced melody (Violins) (Beg. of Expanding Registers):

Melodic contour shown in relation to increase in layering of voices.

Example 6.1 illustrates the layering of voices occurring in the secondary theme of

Movement V. The increasing range of the violins begins in m. 60, where the upper two

violins are paired an octave apart for the rest of the secondary theme. This octave

doubling helps reinforce the rise of melodic contour in the tenor and guitar melody.

An elongated example of layered voices appears near the end of Movement IV.

Beginning in m. 77 with a quarter-note piano ostinato, the cello and bass enter seven

measures later with their own ostinato gesture. Example 6.2 shows the layering of voices

during this final section in the fourth movement.

69

EXAMPLE 6.2 Movement IV: Closing Theme, mm. 77-123

(Measure): 77 83 91 107 123 Melody (Ten./Tpt./Fr.Hrn/Cello) Counter-melody (Cello/Bass) Reinforced melody (Violins/Flute) Ostinato (Piano)

Example 6.2 reveals the layering of voices that occur in the last section of

Movement IV. The ostinato and counter-melody enter before the main melody appears in

m. 91. The melody is repeated in m. 107 and reinforced by the violins, in unison with the

flute, helping establish a change in color from the previous statement of the melody.

6—B. COLOR COMBINATIONS

There are a wide variety of instrument combinations available using this

instrumentation. As mentioned previously, the addition of the violins and cellos provides

a broader array of timbral variations.

The pairing of the trumpet, in its lower register, with the string section illustrates

one possible instrument combination. This occurs in the tenor/piano solo backgrounds in

Movement III, mm. 69-76. In example 6.3, the trumpet trills on low A (concert) while

the string section is voiced in their upper registers. This produces a transparent quality

with the trumpet supporting the strings.

70

EXAMPLE 6.3 Movement III: Strings/Trumpet, mm. 69-70

The combination of tenor and strings appear in the primary theme of Movement

II. Here the strings are voiced in their lower registers while the tenor is placed above

stating the melody. Example 6.4 below reveals this orchestration.

EXAMPLE 6.4 Movement II: Tenor/Strings, mm. 1-4

Example 6.5a on the next page illustrates the second statement of the primary

theme from Movement III, mm. 37-40. Here the violin, French horn and guitar state the

melody and are separated in three successive octaves.

71

EXAMPLE 6.5a-b Instrument Combinations

(a) Movement III: French horn, violin, guitar, mm. 37-40

(b) Movement IV: flute, flugelhorn, violin, mm. 33-34

Example 6.5b illustrates the flute, flugelhorn and violin stating the primary theme

from Movement IV, mm. 33-34. The combination of the dark, full sound of the

flugelhorn and violin in its middle register are paired with the brighter timbre of the flute

an octave above.

72

6—C. BALANCING OF VOICES

One of the most important orchestrational issues that a composer must consider is

achieving proper balance between melody, counter-melody and accompaniment.

Understanding an instrument’s range, dynamic spectrum and the various combinations of

other instruments that it blends with are essential in accomplishing a balance.

Another important balancing issue was achieving a uniform sound between the

strings and the rest of the ensemble. Previously performed and recorded chamber jazz

works have often had the luxury of amplifying the string section. The intent with Holiday

in Reality was to place microphones within the string section, during the live

performance, in order to help them achieve a balance between rhythm section and the

other instruments.

Example 6.6 illustrates balance between the melodic and accompanying voices in

the secondary theme of Movement I, mm. 64-67. Here the flute and tenor play the

melody an octave apart while the string section is voiced in three and four part harmony

underneath. The outer violin and cello voices play the same ascending phrase separated

by two octaves, helping strengthen voice leading in the string accompaniment and the

parallel ascending root motion a fifth below in the bass.

73

EXAMPLE 6.6 Movement I: Balance of secondary theme, mm. 64-67

6—D. STRING SECTION CONSIDERATIONS

One of the most distinct timbral qualities of string instruments is the sound

created by pizzicato. This “plucked” sound offers a delicate and more percussive sound

than notes played with the bow. The limitations of pizzicato lie in its smaller dynamic

range and lack of sustain, since there is no bow that crosses the string.

74

EXAMPLE 6.7 Movement III: String pizzicato, mm. 101-106

Example 6.7 reveals the pizzicato section that appears in Movement III. This

appears after the ensemble transition in mm. 86-100. An important issue in this passage

was maintaining balance between the strings, since the sounds of the cello and bass carry

further than the violin. To achieve balance, the violins play the melody in unison while

the cellos are often paired in either unison or fourths underneath. Meanwhile, the bass,

playing in its lowest register, supports the root motion of each chord.

6—E.

CONTRASTING ORCHESTRATION

Within each movement, contrasts in orchestration contribute to establishing the

character of its various themes. The impact of recurring thematic material is enhanced

when the instrumentation is re-orchestrated. A change in the color and weight of a theme

75

provides variety and maintains forward momentum between each section of a movement.

Two examples below compare different primary themes and how they are orchestrated

when they reappear.

EXAMPLE 6.8a Movement V: Primary theme orchestration, mm. 39-40

Example 6.8a illustrates the first statement of the primary theme in Movement V,

mm. 39-40. Here the guitar states the melody and is accompanied by a two-bar ostinato in

the piano and with the rhythmic pulse being generated by the drums.

76

EXAMPLE 6.8b Movement V: Primary theme orchestration, mm. 46-47

The sparse instrumentation of Example 6.8a is contrasted with a more fully

orchestrated rendition in Example 6.8b, which illustrates the changes in orchestration that

occur in the repeat of the primary theme.

The melody appears doubled at the octave in the flute and unison in the tenor,

trumpet and first violin. The piano breaks away from the two bar ostinato since the

rhythmic activity of the melody and bass line are so dense. The bass states a rhythmically

active and lengthy chromatic phrase doubled by the guitar two octaves above.

77

EXAMPLE 6.9a Movement IV: Primary theme orchestration, mm.39-40

Example 6.9a illustrates the opening statement of the primary theme in Movement

IV. The tenor states the melody while the strings provide the underlying harmonic and

offbeat rhythmic support. The cello II and acoustic bass provide the root motion

underneath. The bass accentuates cello II by playing a “broken” bass line that emphasizes

the bass notes that fall on the weak part of the second beat in each measure.

78

EXAMPLE 6.9b Primary Theme Orchestration, Movement IV, mm. 46-52

Example 6.9b shows the return of the primary theme and how it is orchestrated

across the ensemble. The melody is played by the trumpet and violin I and doubled by an

octave in the flute. A harmonization appears below the trumpet and violin I melody in the

tenor and trombone that varies between intervals of a fourth, fifth and sixth below the

melody. Thus, the melody is strengthened by an increase in instrumentation along with

the entrance of a supporting countermelody.

The string accompaniment shown earlier in Example 6.9a remerges, however in

Example 6.9b, this is orchestrated for a combination of other instruments in the ensemble.

Here the French horn, violin II, guitar and cello I play the offbeats while the piano

emphasizes the strong beats of the accompanying passage.

The bass motion underneath, played by the cello II and acoustic bass is simplified

in order to help support the active melodic and accompanying material above.

79

Chapter 7: Conclusions

A fraction of the numerous possibilities of combining jazz and classical idioms

appear in Holiday in Reality. In particular, the combination of improvisation and through-

composed material creates a formal balance aligning itself within each movement and

across the entire suite.

Composing music for an ensemble of this size required careful consideration of

balance between the instruments. The use of amplified instrumentation and drum set also

require more dynamic sensibility. Despite these areas of concern, the ensemble achieves,

through careful orchestration, a satisfactory balance.

It is important to discuss Gunther Schuller’s term “third stream” in relation to

Holiday in Reality. While this suite does contain elements of classical music, it is more

appropriate to view Holiday in Reality as a contemporary jazz composition that

incorporates traits more commonly associated with classical music, especially the use of

string instrumentation, even eighth-notes and through-composition. In an article

published in September 1981, Gunther Schuller himself declared that “third stream” is

not:

• Jazz with strings.

• Jazz played on “classical” instruments.

• Classical music played by jazz players.

• Inserting a bit of Ravel or Schoenberg between be-bop changes—nor the

reverse.

• Jazz in fugal form or a fugue performed by jazz players.

80

• Designed to do away with jazz or classical music; it is just another option

amongst many for today’s creative musicians.21

By Schuller’s rationale of third stream, it is appropriate to view Holiday in Reality

as a work that is aligned with the current “European model” of jazz—one that features a

cross-fertilization of jazz and classical styles rather than labeling it “third stream”. Since

the 1970s, the music recorded by producer Manfred Eicher on his German record label

ECM (European Contemporary Music) illustrates the possibilities of a music that

incorporates jazz and classical idioms.

An ensemble with mixed instrumentation provides a diverse array of

possibilities—melodic, harmonic, and rhythmic—offering an even more enriching

experience as composer. As a result of this instrumentation, improvising in this setting

becomes a very stimulating experience. The soloist is placed in a state of flux by the ever

changing instrument combinations within this suite. The experience of composing and

performing this music provided tangible benefits that have already inspired new ideas and

instrument combinations for future works.

21 Gunther Schuller, Musings (New York: Da Capo Press, 1986), p. 120

81

Appendix

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Movement I

83

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84

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Movement I

85

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86

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87

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88

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Movement I

89

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Movement I

90

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91

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Movement I

92

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Movement I

93

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94

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95

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96

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97

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98

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99

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101

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Movement I

102

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Fl.

T. Sx.

Bb Tpt.

Hn.

Tbn.

Vln. I

Vln. II

Vlc. I

Vlc. II

E.Gtr.

A.B.

D. S.

Pno.

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(No Crescendo)

(No Crescendo)

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Movement I

103

&

&

&

&

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&

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&

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#

#

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#

Fl.

T. Sx.

Bb Tpt.

Hn.

Tbn.

Vln. I

Vln. II

Vlc. I

Vlc. II

E.Gtr.

A.B.

D. S.

Pno.

Bucket Mute

Play

Play

BKGD Cues (tacit)

BKGD Cues (tacit)

110

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Movement I

104

&

&

&

&

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&

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&

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#

#

#

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#

Fl.

T. Sx.

Bb Tpt.

Hn.

Tbn.

Vln. I

Vln. II

Vlc. I

Vlc. II

E.Gtr.

A.B.

D. S.

Pno.

114

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Movement I

105

&

&

&

&

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&

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43

43

43

43

43

43

43

43

43

43

43

43

43

43

Fl.

T. Sx.

Bb Tpt.

Hn.

Tbn.

Vln. I

Vln. II

Vlc. I

Vlc. II

E.Gtr.

A.B.

D. S.

Pno.

119˙b

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Movement I

25

106

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43

43

43

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43

43

43

43

43

43

43

43

Fl.

T. Sx.

Bb Tpt.

Hn.

Tbn.

Vln. I

Vln. II

Vlc. I

Vlc. II

E.Gtr.

A.B.

D. S.

Pno.

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107

Movement I

&

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#

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46

46

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T. Sx.

Bb Tpt.

Hn.

Tbn.

Vln. I

Vln. II

Vlc. I

Vlc. II

E.Gtr.

A.B.

D. S.

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108

Movement I

&

&

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#

#

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#

Fl.

T. Sx.

Bb Tpt.

Hn.

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Vln. I

Vln. II

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Vlc. II

E.Gtr.

A.B.

D. S.

Pno.

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109

Movement I

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#

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T. Sx.

Bb Tpt.

Hn.

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Vln. II

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A.B.

D. S.

Pno.

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110

Movement I

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T. Sx.

Bb Tpt.

Hn.

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Vln. II

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D. S.

Pno.

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111

Movement I

&

&

&

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#

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Fl.

T. Sx.

Bb Tpt.

Hn.

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Vln. II

Vlc. I

Vlc. II

E.Gtr.

A.B.

D. S.

Pno.

149

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112

Movement I

&

&

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#

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43

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Fl.

T. Sx.

Bb Tpt.

Hn.

Tbn.

Vln. I

Vln. II

Vlc. I

Vlc. II

E.Gtr.

A.B.

D. S.

Pno.

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Movement I

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T. Sx.

Bb Tpt.

Hn.

Tbn.

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Vln. II

Vlc. I

Vlc. II

E.Gtr.

A.B.

D. S.

Pno.

156

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114

Movement I

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T. Sx.

Bb Tpt.

Hn.

Tbn.

Vln. I

Vln. II

Vlc. I

Vlc. II

E.Gtr.

A.B.

D. S.

Pno.

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115

Movement I

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T. Sx.

Bb Tpt.

Hn.

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Vln. I

Vln. II

Vlc. I

Vlc. II

E.Gtr.

A.B.

D. S.

Pno.

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Hn.

Tbn.

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Vln. II

Vlc. I

Vlc. II

E.Gtr.

A.B.

D. S.

Pno.

177

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117

Movement I

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46

46

46

46

46

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Flute

Tenor Sax.

Trumpet in Bb

Horn in F

Trombone

Violin I

Violin II

Cello 1

Cello 2

Electric Guitar

Acoustic Bass

Drum Set

Piano

Brushes (use on floor tom)

q»115-120

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Movement II

118

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44

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T. Sx.

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Hn.

Tbn.

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Div.

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Movement II

119

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46

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Movement II

120

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46

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Tbn.

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Movement II

121

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Movement II5

122

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Tbn.

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Vln. II

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E.Gtr.

A.B.

D. S.

Pno.

ÖÜopen

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Movement II

123

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D. S.

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Movement II

124

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134

Movement II

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Vln. II

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Movement II

135

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Hn.

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136

Movement II

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Tenor Sax. 1

Trumpet in Bb

Horn in F

Trombone

Violin I & II

Violin III & IV

Cello 1

Cello 2

Guitar

Acoustic Bass

Drum Set

Piano

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Movement III

137

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Hn.

Tbn.

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Vla. III&IV

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Vlc. 2

Gt.

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D. S.

Pno.

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Movement III

138

&

&

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Hn.

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Vla. III&IV

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Movement III

139

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D. S.

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Movement III

140

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Movement III

141

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Bb Tpt.

Hn.

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Vlc. 2

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A.B.

D. S.

Pno.

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Movement III

142

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Movement III

143

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&

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b

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44

44

44

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Fl.

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Bb Tpt.

Hn.

Tbn.

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Vla. III&IV

Vlc. 1

Vlc. 2

Gt.

A.B.

D. S.

Pno.

34

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Movement III

144

&

&

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Movement III

145

&

&

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Vla. III&IV

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Vlc. 2

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A.B.

D. S.

Pno.

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Movement III

146

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152

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.

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155

Movement III

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Movement III

156

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43

44

44

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Fl.

T. Sx. 1

Bb Tpt.

Hn.

Tbn.

Vln. I & II

Vla. III&IV

Vlc. 1

Vlc. 2

Gt.

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D. S.

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157

Movement III

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46

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46

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46

44

44

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46

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46

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46

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46

46

46

46

46

Fl.

T. Sx. 1

Bb Tpt.

Hn.

Tbn.

Vln. I & II

Vla. III&IV

Vlc. 1

Vlc. 2

Gt.

A.B.

D. S.

Pno.

106

106

106

106

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158

Movement III

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Fl.

T. Sx. 1

Bb Tpt.

Hn.

Tbn.

Vln. I & II

Vla. III&IV

Vlc. 1

Vlc. 2

Gt.

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D. S.

Pno.

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159

Movement III

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&

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T. Sx. 1

Bb Tpt.

Hn.

Tbn.

Vln. I & II

Vla. III&IV

Vlc. 1

Vlc. 2

Gt.

A.B.

D. S.

Pno.

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160

Movement III

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Bb Tpt.

Hn.

Tbn.

Vln. I & II

Vla. III&IV

Vlc. 1

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Gt.

A.B.

D. S.

Pno.

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161

Movement III

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Fl.

T. Sx. 1

Bb Tpt.

Hn.

Tbn.

Vln. I & II

Vla. III&IV

Vlc. 1

Vlc. 2

Gt.

A.B.

D. S.

Pno.

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162

Movement III

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T. Sx. 1

Bb Tpt.

Hn.

Tbn.

Vln. I & II

Vla. III&IV

Vlc. 1

Vlc. 2

Gt.

A.B.

D. S.

Pno.

Bass Line (Play Time)

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163

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Bb Tpt.

Hn.

Tbn.

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Vla. III&IV

Vlc. 1

Vlc. 2

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A.B.

D. S.

Pno.

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164

Movement III

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T. Sx. 1

Bb Tpt.

Hn.

Tbn.

Vln. I & II

Vla. III&IV

Vlc. 1

Vlc. 2

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A.B.

D. S.

Pno.

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Movement III

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166

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Movement IV

168

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Movement IV

169

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170

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171

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Movement IV

172

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173

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174

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Movement IV

175

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179

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181

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182

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183

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184

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186

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Tenor Sax.

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Trombone

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187

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188

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189

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190

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191

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192

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Movement V

193

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194

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195

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196

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199

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216

Movement V

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217

Movement V

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218

Movement V

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219

Movement V

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220

Movement V

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221

Movement V

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Movement V

223

Bibliography

Caplin, W. Classical Form. New York: Oxford University Press, 1998. Edwards, Arthur. The Art of Melody. New York: Philosophical Library, 1956. Hindemith, Paul. A Composer’s World – Horizons and Limitations. Cambridge: Harvard University Press, 1953. Liebman, David. Self-Portrait of a Jazz Artist. Rottenburg: Advance Music, 1988. Schuller, Gunther. Musings: The Musical Worlds of Gunther Schuller. New York: Da Capo Press, 1999. Stevens, Wallace. The Collected Poems of Wallace Stevens. New York: Alfred A. Knopf, 1969.

224

Vita

David Renter was born in Lethbridge, Alberta on August 26, 1976. He graduated

in 1998 with a Bachelor of Music degree from the University of Lethbridge. In

September 1999 he entered the University of Texas at Austin pursuing a Master of Music

in Composition. After completing this degree in May 2002, David was hired by

Oklahoma City University as the Director of Jazz Studies and Instructor of Saxophone. In

spring 2005 he returned to the University of Texas at Austin to pursue a Doctorate of

Musical Arts in Composition (w/Jazz Emphasis).

Permanent address: 60 Kings Crescent South

Lethbridge, Alberta CANADA

T1K 5G5

This dissertation was typed by David Renter.