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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subZERO - Example 14: Movement III, Measures 77-83

Stylistic Influence: The bass line from the second movement returns in a double-time feel and there are scoops into the melody in mm. 78-79.

Harmonic Influence: Schnyder returns to his D harmonic minor/diminished key center once again proving the close relationship between D and F blues (see Diminished Substitutions). He goes back and forth with this idea until finally resolving the entire piece around the F blues.