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 8: Measures 94-105

Stylistic Influence: Bozza successfully hides the downbeat of the measure while still allowing the "ragtime theme" to come through. That theme itself is "broken" and aids in disguising the downbeat. The accents in mm. 94-95 put the heavy feel on the upbeat. Then the melody in m. 98 is put off until the upbeat. The piano does not play the arrival downbeat of m. 100 but instead plays in the middle of the measure and again in m. 101. The arrival finally occurs in m. 104 with the piano playing an accompaniment line that winds down and returns to a simple beat in m. 105.