The Influence of Jazz Harmony and Jazz Style

on Selected Bass Trombone Solo Literature

A Doctoral Presentation by Joel A. Keene

• Introduction
  • Historical Development
  • Blues Scale
  • Diminished Substitution
  • Trombone Techniques
• Bozza's New Orleans
  • Example 1 (1-2)
  • Example 2 (7-8)
  • Example 3 (15-29)
  • Example 4 (37-45)
  • Example 5 (57-69)
  • Example 6 (72-74)
  • Example 7 (79-91)
  • Example 8 (94-105)
  • Example 9 (109-123)
  • Lecture & Performance
• Wilder's Sonata
  • Example 1 (I, 1-9)
  • Example 2 (I, 63-66)
  • Example 3 (II, 1-7)
  • Example 4 (III, 1-9)
  • Example 5 (III, 44-58)
  • Example 6 (III, 67-75)
  • Example 7 (IV, 1-17)
  • Example 8 (V, 1-6)
  • Example 9 (V, 13-17)
  • Example 10 (V, 36-53)
  • Lecture & Performance
• Schnyder's subZERO
  • Example 1 (I, 1-12)
  • Example 2 (I, 13-24)
  • Example 3 (I, 86-93)
  • Example 4 (I, 238-245)
  • Example 5 (I, 306-312)
  • Example 6 (II, 1-16)
  • Example 7 (II, 40-47)
  • Example 8 (II, 75-78)
  • Example 9 (II, 99-105)
  • Example 10 (III, 1-9)
  • Example 11 (III, 15-30)
  • Example 12 (III, 31-43)
  • Example 13 (III, 61-69)
  • Example 14 (III, 77-83)
  • Lecture & Performance
• References
  • Published References
  • Online Links
  • Artist Profiles
    • Ben van Dijk
    • Christian Lindberg
    • George Roberts
    • Dave Taylor
    • Bart Varsalona
    • Charles Vernon

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New Orleans Example 2: Measures 7-8

Stylistic Influence: The first evidence of jazz style comes in m. 7 going to m. 8. As Ted Hale correctly points out in his analysis of Bozza's Ballade, Bozza "imitates the blues' tendency to be interpreted rhythmically on the 'back side of the beat.'" (Hale) Bozza emphasizes this notion by including the first written glissando of the piece in beat 1 of m. 8.