N 8I
CONCERTINO FOR JAZZ CLARINET, ELECTRIC VIOLA
AND SYMPHONIC ORCHESTRA
THESIS
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Mats G. Holmquist, B.M.
Denton, Texas
August, 1991
Lx
Holmquist, Mats G., Concertino for Jazz Clarinet. Electric
Viola and Symphonic Orchestra. Master of Music (Composition),
August, 1991, 107 pp,, 27 illustrations.
ConQertino for Jazz Clarinet. Electric yiola and Symphonic
Orchestra is a composition of approximately fifteen minutes'
duration, and is scored for two flutes (second doubling piccolo),
two oboes, two Bb clarinets, two bassoons, four F- horns, two Bb
trumpets, three trombones (third bass), two percussionists, solo Bb
clarinet, solo electric viola and strings. The piece is divided
into two movements; Andante and Canon. Concepts derived from jazz
music are employed in, for example, harmony and improvisation in the
solo parts, whereas the orchestration is mainly traditional. The
piece is written for two great Swedish instrumentalists; Putte
Wickman, clarinet, and Henrik Frendin, viola. Stylistically this
work is difficult in the orchestral parts, since it uses concepts
from two different musical styles, jazz and classical. Influences
originate from such wide-ranging composers as Mozart, Stravinsky,
Shostakovich and Chick Corea.
TABLE OF CONTENTS
INTRODUCTION , vii
Chapter
I. FIRST MOVEMENT .ix
FORMTHEMATIC MATERIALHARMONY
II, SECOND MOVEMENT . , , , ,xiv
FORMTHEMATIC MATERIALHARMONY
III. TIMBRE AND ORCHESTRATION .............. xxiv
CONCLUSION , xxvi
INSTRUMENTATION, xxvii
CONCERTINO FOR JAZZ CLARINET, ELECTRIC VIOLAAND SYMPHONIC ORCHESTRA .................. . . . ......a.a. .I
tii
LIST OF ILLUSTRATIONS
Figure
1. Overview of form in first movement....... ... ... .ix
2. Theme of the A section, first movement ...... ix
3. Theme of the B section, first movement ......... x
4. Melodic material of D section, first movement , . , x
5. Melodic outline of diminished triad in A
section of first movement ... .... . xi
6. Chord movement of measures 17-18 in A section
of first movement, . ... .. ..... . xi
7. Ascending and descending triads over G# pedal
in B section of first movement . . . . ... . ...... xii
8. Tonic C# ninth-thirteenth-chord of first
movement........ ....... ,........ ...........xii
9. Voicing of last chord, first movement ........ xiii
10. C-mixolydian mode used in second movement ,. . ,xiv
iv
11. Overview of form, second movement . . . . . ....... xiv
12. Theme of A section, second movement . . ....... xv
13. Canon entrance in the A section of second movement . xv
14. Theme of B section of second movement ., . .. . . . xv
15. Canon entrance in the B section,second movement . . . . xv
16. Canon in four voices of A section,
second movement . . . . . . . . . . . . . . . . . . . xvi
17. Viola and clarinet, middle of second movement . xvii
18. String variations with horns playing theme of
A section, middle of second movement . . . . . . . . xvii
19. Melodic minor seventh interval in beginning
of A section, second movement ., , , xviii
20, Motive from A section further developed in
C section of second movement .. , ....... , ,. xix
21, Melodic tritones in A section of second movement . . xix
V
22. Tonic C ninth-suspended-fourth-chord of second
movement xx
23. Thickened line scoring in trumpets and trombones,
doubled at the octave by woodwinds, middle of
second movement. . ........ .......... xxi
24. Passing chord harmonization within thickened
line technique . . . .,. .. .. . . . . .0. . . .. . xxi
25. Non-functional chords within thickened line
technique . ,.............. .... xxii
26. Chords cadencing back to recapitulation of
second movement ............... . ..... ,.. xxii
27. Voicing of last chord of second movement Sxxiii
vi
INTRODUCTION
Concertino for jazz clarinet and electric viola is written for,
and dedicated to, two excellent performers whom I know both
personally and musically; Putte Wickman, clarinet, and Henrik
Frendin, viola. Putte has played jazz professionally for over forty
years and is recognized as one of Sweden's finest jazz musicians.
Henrik, a close friend of mine, is on a leave of absence from his
duty as assistant leader of the violas of the Danish Radio Symphony
orchestra. He is one among ten musical groups and individuals which
have received a three year grant from the Swedish government called
"Promotion 90"' intended for young performers to develop their art.
Henrik is also an experienced jazz musician.
My intention with this piece is to relate different musical
styles, especially jazz and "concert" music which are the two fields
in which I am educated. This is something that I have been
attempting in many of my pieces. The solo parts include jazz
improvisation. The harmonic and melodic language is most closely
related to jazz, especially jazz from the 1960's and onwards. The
orchestration is basically traditional, I use the type of
orchestration that fits my purpose of trying to relate to jazz, It
also goes hand in hand with my wish to write a very concrete and
extroverted kind of music.
vi
One most difficult and important aspect of trying to relate
different musical styles, and maybe in all composition, is form. The
short forms of jazz are not at all suitable to my intentions for an
extended work. Sonata, Rondo and the Classical concerto are forms
that I feel will lend themselves to my purposes, of course developed
and changed according to my needs. The relationship between rhythm
and orchestration is interesting in this music. It is difficult to
use jazz related rhythms with a symphony orchestra, which makes it a
hard task trying to create this type of piece. According to Don
Sebesky, author of 'The Contemporary Arranger', "many attempts have
been made to make a large string-ensemble "swing" but none has ever
succeeded". In my opinion too, it is probably impossible to make a
symphony orchestra "swing" and that is certainly not my intention.
I try to use the instruments in an indigenous manner, and still give
a jazz flavor to the music. That is mostly by use of accented off-
beats, hemiolas and a steady rhythmic pulse with short note values
always present as opposed to merely a melodic pulse, in addition to
the "jazzy" melodic lines already inherent. Classically trained
musicians have difficulty playing in "jazz time" so the music has to
be scored in a way that will help them. This means that this steady
rhythmic pulse has to be present at all times when "jazz time" is
desired.
viii
CHAPTER I
FIRST MOVEMENT
i. FORM
The main material used is divided into an A and B section:
(A a section, (C#) u tonal center)
Iintro I A (C#) & (C#) I B (6#)I B (A) I Trans.I C a &+&(Eb)+B(Bb)J
mm 1-4 5-21 22-38 39-46 47-53 54-63 64-111
I D (6b)I Recap.B (Ab) I Trans. A & (C#) I Trans. I Coda a DI Fine
112-127 128-134 135-147 148-162 163-169 170-180
Figure 1 - Overview of form of first movement.
The A section (Fig.2), lasting 16 measures, is repeated and so is
the B section (Fig. 3), as might be found in the double exposition of
a classical concerto.
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Figure 2- A section starting in measure 5
ix
Figure 3 - B section starting in measure 39
The clarinet, which is the featured solo instrument in this
movement, states the main theme starting in measure 5 (See Fig.2),
which is then repeated by the orchestra in measure 22. The tonal
center relationship between the A and B section is that of tonio-
dominant. The key centers are C# for the A section, and the B
section is a pedal point on G#. C, the development section, starting
in measure 64, is in the form of an improvisation by the clarinet.
The first part of this section has the same harmonic basis as the A
section but in the key of Eb, V of V, and the latter half
corresponding to the B section is in the key of Bb, V of II. The
viola introduces new material in the D section (m. 112) (Fig.4),
which moves into the key of the subdominant.
Figure 4 - Beginning of D section (m. 112)
The harmonic material of the first half of this section is a mirror
of the first part of A. The recapitulation (m. 128) starts with
x
material corresponding to the B section in the initial key, and then
moves into a repetition of the A section also in its initial
key, The short Coda (m. 170) built on material from the D section
is again in the subdominant with a cadence of dominant-tonio.
ii. THEMATIC MATERIAL
The thematic material of the A section is very much influenced
by its harmonic basis. Since the harmonic progression in the
beginning consists of chords alternatingIwith the interval of an
augmented second, there is a significant color shift every other
measure, which also effects the melodic contour, or vice versa.
From measure 13 the melody is more flowing, first outlining a
sequence of a diminished triad (Fig.5). In measure 17 the melody
outlines an A major triad where the harmonic basis is a A/C#, the C#
melody note then becomes a Db enharmonically in the next measure,
where the harmonic basis is a Bb/C, a chord with more tension than
the previous one (Fig.6).
(A) (Mt. Dlm. ro.
Figure 5 - Melodic outline of diminished triad in A section
Figure 6 - Chord movement of measures 17 - 18
3d
improvisatory passages with the viola. After this they move into a
homophonic two-part section with accompaniment (m. 293) (Fig.17),
with the clarinet on the top voice.
Figure 17 - Viola and clarinet, .middle of second movement
This section crescendos and reaches a climax just before a
modulation to B with a false cadence (m. 313). This section, with
the viola solo plus development is built on the A, B form (not
A,B,A). The music is still ascending after this smaller peak, with
strings playing fast moving variations upon the main theme played by
brass (m. 313) (FigA18).
(4 Ho4,
A 9 . ' 3 -3 _W- - -
Figure 18 - string variations with horns playing theme of A section
In the next B section (m. 326), the winds (both woodwinds and
brass) play a four-note thickened line in a jazz manner (See Fig.22
below), until they reach a pedal point still on B (m. 334). Building
up to the loud recapitulation (m. 355) the two soloists alternate
xvii
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The latter half of the A section (from measure 13) has a more
flowing harmony with chords changing more frequently. Here some use
of "hybrid"-chords are made, for example Bbmin/C (see Fig.6).
In the B-section (Fig.3), which is a pedal point on G#,
ascending triads B-mi,C#-mi,D,G are used, then descending on
F#,C#,B,A,G, all on the G# pedal. The D-section (m. 112) inverts
the chord progression from the beginning of the A section,
alternating chords a third apart but this time in ascending major
thirds with minor ninth chords alternating with dominant ninth-
thirteenth-chords. This occurs in the first 8 bars of the D section
and after this, the progression of the latter part of A is used. In
the transition between the B and the A sections of the
recapitulation (m. 113), the G# pedal reappears with alternating G
and Bb triads on top, leading to a solo cadenza in between. In the
transition between the last A section and the Coda (m. 163), an F to
a D to a C# dominant-type chord is used, all held together by a B on
top. The Coda (m. 170) uses the same harmonic material as the D
section, and the movement ends with a cadence to the tonic C# chord
in an unusual voicing (Fig.9).
Figure 9 - Voicing of last chord, first movement
Xiii
CHAPTER II
SECOND MOVEMENT
i. FORM
The second movement is a Canon with a pentatonic blues flavor
in a C-mixolydian mode (Fig.10).
(Y 7 T110hLYo IA V lOF )
Figure 10 - C-mixolydian mode used in second movement
It too uses an A,B,A form for its main thematic material (Fig.11).
(A u section, (C) u tonal center)
Intro & (C) I B (C) I & (C) A & (F#) 1 B (F#) I & (F#)
181-184 185-193 194-202 203-214 215-226 227-234 235-248
ICadenzal C u&+B (F) 1 D wA+B (F) I E wA+l (B) j Trans. (B) I
249-254 255-285 286-312 313-334 335-354
jRecap.A (C)j B (C) I Pedal. (E) I Pedal. (Ab) I Coda (C) Fine
355-364 365-375 376-383 384-389 390-406
Figure 11 - Overview of form of second movement
In the first statement of A in measure 185 (Fig.12) the second
(Canon) part starts one and a half measures later (in 4/4) (Fig.13),
xlv
Figure 12 Theme of A section, second movement (mm, 185- 193)
(v Ioz iS )
Figure 13 - Canon part entrance in the A section of second movement
In the B-section (Fig.14) the canonic part enters only a half
measure after the first part (Fig.15).
Fl T5A 7)
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1 L.-' '4~J7" 4-
Figure 14 - Theme of B-siaction of second movement (mm. 194 - 202)
Figure 15 - Canon entrance in the B section (m. 194)
xv
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When the A section re-enters it is as a canon in four voices
(Fig.16).
(vio1-7 1)
Figure 16 - Canon of A section, second movement
Just as the first movement, this movement also uses double
exposition but in reverse order. In this movement the orchestra
starts and is then followed by the soloists. When the soloists
enter they have modulated to F#- mixolydian (m. 215). The first
four bars of the A section are repeated with the viola starting
followed by the clarinet. At B (m. 227) they state the canon at the
unison at a distance of one and a half measure. The last A section
(m. 235) of the exposition is extended and modulates to F. Here the
viola, which is the featured instrument of this movement, takes over
with a short solo cadenza (mm. 249 - 254). Then, with the
accompaniment of oboes, clarinets, bassoons, timpani and marimba it
starts to develop a short motive from the A theme (m. 255). This is
intensified, and there is a modulation to the key of Ab in measure
285 where the clarinet enters and alternates short
xvi
improvisatory passages with the viola. After this they move into a
homophonic two-part section with accompaniment (m. 293) (Fig.17),
with the clarinet on the top voice.
)Sr-3 ,
Figure 17 Viola and clarinet, middle of second movement
This section crescendos and reaches a climax just before a
modulation to B with a false cadence (m. 313). This section, with
the viola solo plus development is built on the A, B form (not
A,B,A). The music is still ascending after this smaller peak, with
strings playing fast moving variations upon the main theme played by
brass (m. 313) (Fig.18).
(4t flows.
(VVas. L5(EUaX #*' 236fv*s
Figure 18 - string variations with horns playing theme of A section
In the next B section (m. 326), the winds (both woodwinds and
brass) play a four-note thickened line in a jazz manner (See Fig.22
below), until they reach a pedal point still on B (m. 334). Building
up to the loud recapitulation (m. 355) the two soloists alternate
xvil
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melodically with low strings and trombones. On the cadence back to
the tonic C the brass play dissonant rhythmisized chords to a short
"break" for high strings and woodwinds (m. 350).
The recapitulation consists of an A and a B section leading to
a pedal on E, on which the beginning of the A is played with triple
note values (m. 376). The pedal underneath changes to Ab (m. 384)
and then to a section where the strings play variations of the first
part of A in five octaves (m. 390). The piece ends with the same
type of cadence as was found in the first movement, where the two
soloists have a chance to appear together one last time. The last
note is a unison C.
ii. THEMATIC MATERIAL
The thematic material of the first half of the A section (see
Fig.12), is based on a pentatonic scale with the following pitches:
C, D, F, G, and Bb. The most significant melodic feature is the
initial minor seventh interval (Fig.19).
(cIa%.d' (-7 i
Figure 19 - Melodic minor seventh interval at beginning of A section
The motive in the next measure (m.. 116) is further developed later
in the C section, by the viola (Fig.20).
xviii
(EIZ~t0 ) (MTIlV EIr~5:(POT1If II
Figure 20 - Motive from A section, further developed in C section
The last two measures (mm. 192 - 193) of the A section include two
melodic tritone intervals, easily recognizable (Fig,21).
IF- A&' nro \
Figure 21 - Melodic tritones in A section of second movment
The latter half of this section features a rising melodic sequence,
displaced rhythmically the second time. The B section (see Fig.14
above) is more flowing rhythmically, and has a greater intervalic
span, that of a major ninth, exluding the first anacrusis note. The
two most significant melodic features are the major sixth leap in
measure 194, and the "bluesy" flavor of measures 200-201, partly due
to the tritone. There is also a reference to the A section in
measure 198, introducing the minor seventh interval again.
iii. HARMONY
The harmonic basis for this movement is modal. The first chord
to appear is a pedal tonic C ninth-suspended-fourth on the second A
of the first exposition (Fig.22),
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Figure 22 - Tonic C ninth-suspended-fourth-chord of second movement
The first chord progression to appear is on the second
exposition, in the key of F# (m. 215). This begins with parallel
dominant suspended ninth-chords; F#,C#,B and C#, then leads to a
less modal harmony using the cycle of fifths and chromatic root
movement. The following B section (m. 227 - 234), reverses the
harmony by having the "modal chords" in the middle. The transition
to the next section, starting in measure 246-248, anticipates the
next tonic F. In this section, C, only the roots and fifths of the
chords of the chord progression of the A section are accompanying
the viola solo. The same chord progression is employed throughout,
but many times it is only implied. A different use can be seen in
the last B section starting in measure 326 before landing on the B
pedal (m. 334) that is leading back to the tonic (m. 335). Here the
brass, doubled in octaves with the woodwinds, are used in a
technique that is normally found in advanced "sax soli" in big-band
music (Fig.23).
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Figure 23 - Thickened
doubled at the octave
line scoring in trumpets and trombones,
by woodwinds (m. 326)
This involves thickening the melodic line to four notes plus doubled
octave. For better voice-leading and more interesting harmony, some
of the chord tones of the melody line are treated as passing tones,
and therefore passing chords are used to harmonize them (Fig.24).
______ r _ ho o 7ov 7pNELO075"fArl kA SAbTONE
Figure 24 - Passing chord harmonization within thickened line
technique
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Non-functional chords are employed for the sake of contrast and
voice-leading (Fig.25). Most of the time this means chords where
several voices move chromatically into the next chord.
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Figure 25 - Non-functional chords within thickened line technique
At the cadence (m. 347) leading back to the recapitulation, I
use a G-chord over Db with an added Bb (sharp ninth), going to a Db7
over G with added Eb (ninth) leading to G ninth-sharp-eleven-chord
and then to the tonic (Fig.26).
Figure 26 - Chords cadencing
movement(mm. 347 -349)
back to recapitulation of second
Kdi
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The last hord of the piece (Fig.27) has a dominant function
leading to the unison ending.
Figure 27 - Voicing of last chord of second movement
aiii
CHAPTER III
TIMBRE AND ORCHESTRATION
The most unusual use of instruments in this piece is the use of
improvisation in the solo parts. In most of the places where
improvisation occurs, the chord upon which the player is going to
improvise needs to be heard. The performers, whom the piece is
written for, are more interested in harmonic improvisation than free
improvisation, which makes it necessary to supply them with a
harmonic background. In the beginning of the C section of the first
movement, starting in measure 64, the clarinet is improvising over
an arpeggiated chord in trombones and horns. In measures 143-147 of
the first movement there are four cadenzas where the soloists
improvise two times each alone, and in the last one also together.
Here they can either improvise on the previous chord or more freely.
In measures 285-292 of the second movement the soloist alternate
improvisations two measures each at a time. On the two pedal points
at the end of the second movement (mm. 376 - 388) the soloists again
alternate improvisations, this time overlapping. In measures 390 -
397 "screams" and "glissandos" are written in the solo parts, which
will result in improvised glissandos and fast ascending runs in the
viola and descending lip slurs and glissandos in the clarinet. But
the general use of instruments is basically traditional, as
mentioned earlier. This means many unison and octave doublings are
employed, since the music is not very contrapuntal, The aim is not
to use the instruments for their colors primarily. The color aspect
xxav
mostly used, is, for example, a whole unison section, or strings in
five octaves (m. 390); brass in four voices doubled at the octave
with woodwinds (m, 326) and whole orchestra unisons (m. 346).
Occasionally different colors are used for every voice in a chord
(mm.74-75). Frequently different melody lines are in different
sections. Most of the classical doublings are employed: flutes and
violins I, bassoons with cellos and basses, for example. Chords are
generally scored in a traditional manner although the voicings might
be unusual. In woodwind chords an interlocking scoring of oboes and
clarinets is favored. Many times the bass trombone assumes a bass
function. Pizzicati are used very often, especially in cellos and
basses.
CONCLUSION
Concertino for Jazz Clarinet. Electric Viola and Symphonic
Orchestra is an attempt to create an unusual piece, using mostly
traditional techniques but employing amplification in the solo
parts. That is one of the most important aspects of the piece
because it permits a very different dynamic scoring for the
orchestra. This also allows the soloists to play without too much
effort and still be heard. As previously mentioned the techniques
used are borrowed from different musical styles; the harmonic
language from jazz, the orchestration is basically classical or
traditional, and the form is derived from both styles.
The piece is difficult to perform from a stylistic point of
view. That is why I composed it for carefully selected soloists.
As mentioned earlier the orchestral parts will be difficult to
perform because most orchestral players do not have any background
in jazz. I try to bridge this with awareness of stylistic concepts,
since I have a background in both musical styles.
What I want to achieve with the piece is communication, that is
communication with an audience. I like to work on a concrete level
rather than an abstract, which explains the choices of styles and
techniques used. When I composed the piece I repeatedly stepped
aside to obtain a different perspective of the piece. In my opinion
it is important as a composer to also have the perspective of a
listener. I hope the result is both enjoyable and interesting.
xxVi
INSTRUMENTATION
2 Flutes (2nd doubling Piccolo)
2 Oboes
2 Bb Clarinets
2 Bassoons
4 F Horns
2 Bb Trumpets
3 Trombones (3rd Bass Trombone)
Percussion I
Timpani, Triangle, Xylophone, Glockenspiel,
Wind chimes
Percussion II
Cymbal, Glockenspiel, Marimba, Snare drum,
Bass drum
solo Bb Clarinet (amplified)
solo electric (amplified) Viola
Strings
Duration: c. 15 minutes
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