University of Canterbury. Centre for Fine Arts, Music and Theatre
Doi
Abstract
This collection of original compositions shows the juxtaposition of modern jazz and
contemporary classical music. The aim was to create original and interesting
compositions based on linear ideas from a variety of pentatonic scales; both existing
scales and those of my own device. These works explore and combine heterophonic
texture1 with jazz modality.
The works were composed and arranged within two distinct genres and four
ensembles; a jazz big band, a small jazz combo, a chamber orchestra group and a
reduced orchestra. Elements of modern classical, jazz and non-western harmonies
were incorporated into these compositions, with melodic ideas limited to five-note
scales.
The compositions implemented jazz improvisational methods to develop each
piece. They were inspired by ancient Japanese literature, poems and some current
events, which of these descriptions have been included at the beginning of each piece.
My three big band jazz pieces are called A Piece of Hope in the Darkness,
Effect, and Rainforest. Each piece explores the compositional methods that have been
explained above. All three works were composed and arranged for a regular jazz big
band setting, consisting of a saxophone section (two altos, two tenors and baritone); a
brass section (three trombones, bass trombone and four trumpets); and a rhythm
section (guitar, piano, double bass and drum set). In the composition Effect, however,
the first alto saxophone is substituted by clarinet to add a gloomy texture. I tried to
achieve linear approach of writing style in each part of the compositions. Resulted
sounds like delicate and smooth sounding than the punchy normal setting of the big
band sound.
A small ensemble piece called Blue Butterfly is in a sonata form. The work
was based around the following five-note scale: D, F, A, Bb, C. Performers are
required to improvise in a linear fashion within this mode for the improvisation
section. The instrumentation of this piece is alto and tenor saxophones, piano, double
bass and drums. The pianist and bassist on this piece were to spontaneously create
chords based on the five-note scale.
Two modern classical setting pieces are called Reminiscence of a Japanese
Garden and Conspiracy Theory. Reminiscence of a Japanese Garden is composed
with the following two sets of five-note modes: D, E, G, A and Bb; and D, F#, A, C
and E as a base. A very prominent heterophonic texture was utilised in this
composition, which resulted a very linear work. The ensemble consists of flute,
clarinet, violin, cello and piano. The cadenza that is performed by the flute is
improvised in this mode. Conspiracy Theory is based around the following five notes:
D, E, F, G and A. The ensemble consists of flute, clarinet, string sections (violin,
viola and cello), piano, timpani and marimba.
The resulting compositions are much more linear than my previous works.
Performers of these compositions enjoyed working with this concept and have shown
great understanding and flexibility. Working within the limited framework of
different pentatonic scales has been both restrictive and liberating and the use of
heterophonic textures presented me with new dimensions and perspectives on my
writing style. The process of writing and recording these compositions has been a
rewarding and enlightening experience.
1
Heterophonic
texture
is
the
use
of
a
simultaneous
variety
of
single
melody
lines
with
embellishment.
It
can
be
described
as
complex
monophony.
Heterophonic
textures
are
often
a
feature
of
non-Western
traditional
music
and
can
be
found
in
Japanese
Gagaku,
gamelan
music,
and
traditional
music
from
Thailand