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Valencia 2014
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ACKNOWLEDGMENT
There are many people to whom I should dedicate a few lines on this page, and it is not easy to choose an order to name them. So I will start by thanking so many excellent musicians in general and, in particular, clarinet players who have awakened enthusiasm and interest in each new generation of musicians. I continue by thanking all the teachers who have influenced my musical training, and especially to all the teachers and staff at the Berklee College of MusicValencia Campus because they have allowed me to grow in personal, musical and professional aspects and carry out this project. All my friends and colleagues who who made the recording of my pieces possible, both as musicians and recording engineers and technicians, also are deserve my most sincere thanks. And finally, I want to thank my family and closest closest friends, for their invaluable support.
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ACKNOWLEDGMENT
There are many people to whom I should dedicate a few lines on this page, and it is not easy to choose an order to name them. So I will start by thanking so many excellent musicians in general and, in particular, clarinet players who have awakened enthusiasm and interest in each new generation of musicians. I continue by thanking all the teachers who have influenced my musical training, and especially to all the teachers and staff at the Berklee College of MusicValencia Campus because they have allowed me to grow in personal, musical and professional aspects and carry out this project. All my friends and colleagues who who made the recording of my pieces possible, both as musicians and recording engineers and technicians, also are deserve my most sincere thanks. And finally, I want to thank my family and closest closest friends, for their invaluable support.
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CONTENTS
1. Introduction ................................................................................................. 3 1.1 About the Author .............................................................................. 3 2. Historical context ......................................................................................... 5 2.1 The clarinet way along the Music History !!!.!!.!!.............. 5 2.2 The clarinet in Eastern Europe ......................................................... 6 2.3 The Balkan and Klezmer music ........................................................ 7 2.4 Jazz and clarinetists ....................................................................... 10 3. Justification and objectives ....................................................................... 17 3.1 Why am I doing this work? ............................................................. 17 3.2 What do I want to achieve with this? .............................................. 17 4. Procedure/Methodology............................................................................. 18 4.1 Study and interpretation of various musical styles ....................... .. 18 4.2 Composition and adaptation for a new clarinet repertoire: Looking for my artistic voice ........................................................... 20 4.3 Claiming the clarinet as versatile and dynamic instrument: 4.4 Creation of the web clarinetjazz.es ................................................. 31 5. Conclusions ................................................................................................40 6. References ...................................................................................................41 7. Appendixes !!!!!!!!!!!!!!!!!!!!!!!!!!!.43
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1. Introduction 1.1. About the author
I come from a musical family, where all my siblings and some other family members are professional musicians. Because of this, my love for music comes from childhood. I began studying music when I was only 8-years-old in the wind-band of my hometown. Before that, I had started playing the laud in local folk music groups formed for the spring feasts of Cruces de Mayo. So popular Spanish music was my first contact with the music world but, a little bit later, I began to study classical music at a professional conservatory. At the conservatory I found one of my greatest passions: Chamber music, which even today is still very important in my life and musical style. A few years later, I moved to Madrid to continue my undergraduate studies, and there I would find two of my biggest influences: the Symphony orchestra and a music style I always was attracted to, but I never dared to study and understand exhaustively: Jazz. As a clarinetist, the most interesting style for me was Classic Jazz and Swing of the 20s-30s, which is also known as Dixieland. The reasons for this are the large number of pieces composed for clarinet during that time and the cheerful, funny and sparkling style which made the clarinet sound and its possibilities one of the most important and loved instruments for composers and big bands, as well as an appreciated solo instrument. This interest led to create a group of Clarinet-jazz players in Madrid with other clarinetists, colleagues and friends, called HALF PAST CLARS. The purpose of this group is similar to the work presented below, which is to adapt jazz standards (standards and classic jazz pieces mainly) to a group of Clarinet-Ensemble. Besides all the arrangements and song adaptations, we "56789 :75; <=>?@<
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composed some original tunes, compiled in a recording album called "Half Past Clar´s" in 2010.
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I spent my undergraduate studies combining classical chamber music with symphonic orchestral and Dixieland jams without knowing that this jumble of styles could finish someday as the diverse works I have developed this year, thanks to the learning facilities and experiences that Berklee College of Music has provided.
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2. Historical context
There is a fact which draws my attention: the clarinet as a solo instrument has lost much prominence in its role in jazz music, situation which does not happen in other styles such as classical music and even folk music of many countries. 2.1. The path of the clarinet in the music history
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Doing a quick review of the evolution of the clarinet in the history of classical music (very basic, because this is not the mission of that work and this topic is too wide) it can be seen that, the clarinet had late appearance, compared to other woodwinds that were more important than clarinet in the Baroque orchestra. Since Wolfgang Amadeus Mozart placed it at the top as a solo instrument (Concerto for clarinet and orchestra the M, 1791) this instrument has always been able to stay in the music scene and in the minds of the composers of the following artistic movements as a relevant, much loved and respected instrument because of all the techniques and sound possibilities it has. Just to mention some of the best composers in music history, during Romanticism clarinet was one of the most commonly used wind instruments, with works dedicated to the instrument, such as Karl Maria von Weber´s concerts, the Quintet and the Sonatas of Johannes Brahms and many other composers. In the avant-garde period of the twentieth century, clarinet has also been in very relevant works composed by great geniuses of music as Debussy, Stravinsky, Poulenc and Stockhausen, apart from the great symphonic importance it has and the large number of orchestral passages compounds. In contemporary music from the late twentieth century to today, the clarinet is one of the most used instruments, both in chamber music and as a solo instrument. The same happens in folk music and folklore of several European cultures, where the clarinet still enjoys much prominence, especially in wind band music in Spain and in countries of Eastern Europe and Turkey, as it is an instrument closely associated to the gypsy music.
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2.2. The Clarinet in Eastern Europe: 2.2.1 At the beginning: The ancient Greek music
Because of its geographic location and its historical evolution, Greece is a country that belongs to both East and West cultures. That bipolarity manifested to perfection in its music. In general, Greek music is usually immediately recognizable by its timbre and its modal melodies from Orient . The style called Dimotikó, from traditional Greek folklore, has clarinet and violin as its the main instruments. Ancient Greek music was the basis to Persian music. It greatly influenced the Western Gregorian chant and in Byzantine music. After Byzantine territory fell in Arab hands, its musical resources were used in Islamic music too ... Ancient Greek music is the basis of classical Arabic music, Balkan and later Ottoman, and along with its melodies and modes, instruments such as the klarino also were exported to East Europe. The klarino (popular clarinet tuned to the natural scale) was led by Gypsies in the eighteenth century or the Bavarian military bands of the 1830s to part of Eastern Europe.
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2.3 The Balkan and Klezmer music
Gypsy music from the Balkans is one of the treasures of the musical heritage of the Gypsy people, and by extension of the East-European culture. This unique cultural heritage was popularized by Emir Kusturica movies or Gatlif , and increasingly frequent concerts of the "gypsy world music", also called "Klezmer". Klezmer music is a style of Jewish music. Born in Eastern Europe in medieval times, it has traveled around the world accompanying the Jews. In Jewish musical traditions, Klezmer was mixed with different European music with which it was in contact, mostly Eastern European, Balkan and Central European. Klezmer was usually played by a group of three to six musicians. Musicians or Klezmorim were disreputable people, nomadic musicians, however they were
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the only recourse of the towns and Jewish ghettos to celebrate with some happiness events like weddings and parties. The usual instruments were the violin, clarinet, flute, cello and drums. As time went on, the groups were growing in number to form bigger bands. In the early twentieth century, the Jews left Eastern Europe first, and later Central Europe because of prosecutions and lynchings. Many of them moved to the U.S. and the Klezmer music also traveled with them.
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According to several musicologists, Klezmer music was born when Eastern European Jews musicians migrated to America; others argue that the meeting with jazz music made a big change in Klezmer music evolution and helped it truly be known. During the decade of the 1920s the meeting between traditional Yiddish music and Jazz happened in areas with great immigration, and as a result gave great compositions and concerts in the modern Music History. Currently, the most important thing is that many musicians have appeared (not only of Jewish origin) who show an interest in this art and consider the interpretation of Klezmer music a way of searching for new ways of expression.
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The melodies and traditional songs are the basic material with which Klezmorim today enrich their own arrangements and compositions, adding Folk tunes from around the world, Jazz elements, Soul and other styles of Contemporary music such as Pop, Rock, Punk and Rap. Here we can mention the African American clarinetist Don Byron who founded the Klezmer Conservatory Band, or we can also mention other musicians as influential Argentine / Israeli clarinetist Giora Feidman Klezmer who mixed Klezmer with details of Latin music.
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Some of the most famous clarinetists who play this kind of music nowadays, are: Giora Feidman (Argentina/Israel), Vasilis Saleas (Greece), Hüsnü Senlendirici (Turkey), Andy Statman (USA), Ivo Papazov (Bulgaria), Petroloukas Chalkias (Greece), Tale Ognenovski (Macedonia), Martin Fröst (Sweden).
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2.4 Jazz and clarinetists 2.4.1 Origins: New Orleans clarinetists
In the beginning of the Jazz era, in the mid-nineteenth century, the Blues and Work-songs in the cotton fields or "worksongs" were the styles that local people sang and listened to. The music was not Jazz, it was a set of rhythms and melodies mostly from Africa. In the last quarter of the nineteenth century, Jazz started in Louisiana (New Orleans). In the beginning, the clarinet was very important, and its use was divided equally between black and white musicians, having figures in different periods and styles. Many Klezmorim migrated to America, and among them were virtuoso clarinet players that started playing Jazz. 1892- New Orleans gave birth to the great jazz clarinet Johnny Dodds, one of
the three most famous classical clarinetists this city gave to Jazz, together with Jimmie Nonne and Sidney Bechet (he lived many years in Europe, the last decade of his life in Paris ). Jimmie Noone became established as leader of his own band in the "Apex Club" in Chicago and broke up with the traditional and established setting of jazz ensembles in New Orleans. Without brass, the result was some sort of "Chamber Jazz" where the melody is clear and audible. Some years later, Johnny Dodds entered the famous group of Louis Armstrong's "Hot Five" with Kid Ory, Lil Hardin, Armstrong himself and Johnny St. Cyr (banjo player). These recordings of Louis Armstrong with the Hot Fives and then with the Hot Seven were the seeds of modern Jazz. Albert Nicholas played in several bands such as as The New Orleans Rhythm Kings and King Oliver Band, which became one of the most memorable hot jazz bands in Chicago, in the early twenties. His style influenced many young Chicago musicians such as Benny Goodman. Together with some later figures as Irving Lorenzo Tio or Fazola they helped define an era of Jazz history.
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Many other clarinetists did not become famous for different reasons, such as not having migrated to the main locations or places of jazz in due time (New York or Chicago). However, they were not minor players, and the list includes artists such as Willie Humphrey, another great clarinetist and highly regarded in his time or Mezz Mezzrow, which occupies a rare and unique place in the history of Jazz clarinet enthusiast specializing in Blues.
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2.4.2 The Glorious Era of Swing for the clarinet
Around 1935 the beginning of the Age of Swing arrives, the golden age of the big bands. Benny Goodman (son of Polish Jews who migrated to the U.S.) in 1937 was
acclaimed as the "King of Swing". Buster Bailey, Barney Bigard, Irving Fazola (in his second stage) ... and
many other clarinetists were highlighted in this style. Artie Shaw (Russian father, Austrian mother) reached prominence during the
era of the big bands, but his style was never really adapted. While Benny Goodman´s music is fun and simple, Shaw´s music is tense, wilder, addressing the future of Jazz.
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The first Woody Herman´s band became known for its Blues orchestrations. In April 1939, Herman recorded what would be his greatest commercial success and megahit Woodchoppers' Ball , where Woody starred at the clarinet, and it included Neal Ried at trombone, Saxie Mansfield on the saxo, Steady Nelson on trumpet and Hy White on guitar. This Swing band became very popular. Joe Marsala was also an excellent Swing clarinet artist who would easily adapt
to other similar styles (he studied with Jimmy Noone), like Eddie Miller. 2.4.3 - The Bebop: Clarinet in danger of extinction: 1939-1940-With the Great Depression and the approach of World War II, big
bands and orchestra ballrooms disappeared and gave free way to combos with fewer members and smaller groups (much cheaper). These ensembles gave emphasis to the trumpet and tenor sax, with drums, bass and piano, and the newborn electric guitar was also included. The clarinet and trombone had no practical application in bop style because of the complexities of this mix. This, added to the difficulties to balance these instruments’ sounds, gradually clarinets disappear from Jazz stage time. Only J. J. Salvo Johnson on trombone and Buddy de Franco on clarinet, were able to adapt. The clarinet was partly replaced by the soprano sax, due to tuning and sound quality reasons. Buddy De Franco is one of the greatest clarinetists of all times. Until the arrival
of Eddie Daniels he was, without doubt, the most famous clarinet player in the 40s and was able to fit into more modern jazz and bebop. It was bad luck for De Franco to be the best at an instrument that, after the swing era, declined drastically in popularity. However, he was perhaps the only clarinet artist of the time who was able to adapt to changes, and even during the eighties he was the only remarkable Jazz musician who only played clarinet. He was perhaps the only bebop clarinetist. After him, there was a big gap in terms of clarinetists.
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There are hardly data from Jazz clarinetists who played some styles in the postbop era. Nowadays, this is luckily being recovered.
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2.4.4 Freejazz and Modern Jazz: Some clarinetists today. Eric Dolphy: His musical career is very unusual. It was very brief and
successful. A multi-instrumentalist virtuoso, he played bass clarinet, an instrument out of use during his days, which is currently becoming popular in Jazz. He was also a great flute player. Dolphy, in just six years, was placed in the avant-garde of the renewal of Jazz of the 60s, becoming a master key and unquestioned modern Jazz master. Pedro Iturralde: Saxophonist and occasional clarinetist, pioneer of Jazz in
Spain, along with pianist Tete Montoliu. He traveled to Europe and the United States (Berklee, Boston) to develop his skills. He co-founded with Paco de Lucia the Flamenco-Jazz style. Both achieved recognition in 1967 Berlin Festival´s edition.
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John Kenneth Davern, although he mainly played in traditional Jazz and
Swing stages, his musical interests included a much wider range of styles. In 1978 he collaborated with avant-garde musicians such as Steve Lacy, Steve Swallow and Paul Motian on an album inspired by Free Jazz, appropriately titled Unexpected . Michel Portal is a French clarinetist, saxophonist, composer and bandoneon
player, born in Bayonne on November 25, 1935. His musical training was entirely classical, specializing in the clarinet repertoire with Mozart and Alban Berg, among others. But he always maintained a clear relationship with Folk music of the Basque country and Jazz. He is one of the favorite clarinetists in Contemporary music (Pierre Boulez, Stockhausen, etc.). From 1971 he founded an experimental way and open group, “Michel Portal Unit”, which definitively enters the field of improvisation and Jazz. Eddie Daniels: One of the really great Jazz clarinetists. He has explored the
themes of Charlie Parker and Roger Kallaway, the Crossover and Swing. Daniels is also a tenor saxophone performer. Paquito D'Rivera (Francisco de Jesús Rivera Figueras) is a Cuban Jazz
musician, clarinetist and alto, tenor and soprano saxophonist. Passionate about both Jazz and Classical music, one of the main objectives of his work is to make the first part of the second. He is considered one of the best Latin Jazz musicians and is a regular at Jazz festivals across the world and in any clarinetists’ meeting. Theo Jörgensmann is one of the most important contemporary Free Jazz
clarinetists. Usually played with artists from different musical styles. He has played for example with John Carter, Perry Robinson, Barre Phillips, Kenny Wheeler, Kent Carter, Vincenz Chancey, Lee Konitz and others. Mixing elements of Jazz, Classical music, Contemporary music and Ethnic styles without leaving his personal style.
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Louis Sclavis is a French clarinetist and saxophonist Jazz. He began studying
clarinet at age 9, before studying at the Conservatory of Lyon. Since the late 70s he has started doing concerts with the Workshop de Lyon; later it founded together with Michel Portal and Bernard Lubat the “Brotherhood of Breath”. He has also recorded his own albums and played on all main festivals. Ken Peplowski is one of the best jazz clarinetist that emerged in the eighties.
He belongs to the Neoclassical stylistic movement , but Peplowski plays Jazz, convincingly; he clearly connected to the golden age of swing instrument and integrated the influences of Lester Young, Benny Goodman and Buddy de Franco. Ken Peplowski is an eclectic musician who moves somewhere between Classical music and Jazz. His quintessential technique on the clarinet, has placed him as one of the best current Jazz clarinetists. Below are the names of the main clarinetists cited in this brief review where they appear in a chronological list. You can see the difference in number from the 40-50s with Bebop and thereafter to the present day. In view of the data, the most probable reasons for clarinet to fall in disuse among Jazz musicians and composers since the 40´s, with World War II and the Bebop, is that: one hand it is true that it had more limitations than the saxophone, especially in sound power and that was a disadvantage with the arrival of electric instruments in the rhythmic base of the groups; and, on the other hand, style, fashion, and criteria aesthetics had changed. So from the light and sparkling melodies of Swing represented largely by the clarinet the style evolved into the more elaborate melodies, charged not only of harmony and rhythm, but more difficulty, complexity and darkeness ... Bebop was born and clarinet was preparing to suffer a major change in its role in Jazz.
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New Orleans and Swing Clarinetists
Bebop, Freejazz and Modern Jazz Clarinetists
1878 – 1961 Alphonse Floristan Picou 1880-1949-Big Eye Louis Nelson 1882 -1949-George Baquet 1884-1934 Alcide “Yellow” Nunez 1887-1960 Lawrence “Duhé” Dewey 1892-1940 Johnny Dodds 1893-1933 Lorenzo Tio Jr 1893-1953 Larry Shields 1895-1944 Jimmie Noone 1895-1966 Darnell Howard 1895 –Wade Whaley 1896-1928 Jimmy O’Bryant 1897-1959-Sidney Bechet 1899–1971 Harry Shields 1899-1972 Mezz Mezzrow 1900-1968 George Lewis 1900-1972 Tony Parenti 1900-1973 Albert Nicholas 1900 - Jimmy Hartwell 1901-1948 Sidney Arodin 1901-1949 Danny Polo 1901-1967 Edmond Hall 1902-1943 Leon Roppolo 1902-1959 Omer Simeon 1904-1929 Don Murray 1904-1972 Jimmy Lytell 1904-1973 Voltaire de Faut 1906-1932 Frank Teschemacher 1906-1969 Pee Wee Russell 1906-1985 Joe Darensbourg 1907-1944 Rod Cless 1902-1967 Buster Bailey 1906-1980 Barney Bigard 1907-1978 Joe Marsala 1909-1986 Benny Goodman 1910-2004 Artie Shaw 1911-1991 Eddie Miller 1911-1987 Heine Beau 1912-1949 Irving Fazola 1912-1997 Johnny Mince 1913–1987 Woody Herman •
1904 – 1957 Jimmy Dorsey 1917-1994 Jimmy Hamilton 1920 – 2004 John LaPorta 1921-2007 Tony Scott 1921-2008 James Peter Giuffré 1923- Buddy DeFranco 1904 – 1957 Jimmy Dorsey 1917-1994 Jimmy Hamilton 1920 – 2004 John LaPorta 1921-2007 Tony Scott 1921-2008 James Peter Giuffré 1928 - Bob Wilber 1928-1964 Eric Dolphi 1929-Pedro Iturralde 1929- Acker Bilk 1935–2006 John Kenneth Davern 1935-Woody Allen 1935- Michel Portal 1941- Eddie Daniels 1948-Paquito D’Rivera. 1948-Theo Jörgensmann 1953-Louis Sclavis 1955-Jorge Pardo 1958-Don Byron 1959-Ken Peplowsky
Note: All clarinetists listed at the beginning are in chronological order of birth, but from Buddy de Franco, there are some that are repeated because they started their career in a specific style and then changed to Bebop or other style that was not Swing, Jazz or Classic-Dixie.
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3. JUSTIFICATION AND OBJECTIVES: 3.1 Why am I doing this work?
Since there are no logical reasons from a technical or expressive point of view, and the disadvantage of clarinet sound against saxophone is not a sufficient argument to remove this instrument from the Jazz scene, this paper wants to be a defense of the clarinet as a dynamic and versatile instrument, able to adapt to any style and reintegrate into the current music scene. 3.2 What do I want to achieve with this?
The main goal of this project is to promote the spreading and recovery of clarinet in the current music scene, and more specifically, in Modern music and Jazz style. General audiences know this instrument for its history, and they associate it only to Classical music. My purpose is to help different audiences to not be surprised to see clarinetists playing Folk, Flamenco, Contemporary Jazz ... and not just Classic Jazz or Classical Music. To carry out this work the following elements are developed: • Study and interpretation of various musical styles. • Composition and adaptation of a new repertoire for the clarinet. • Looking for an artistic voice. • Recording the new repertoire. • Claiming the clarinet as a versatile and dynamic instrument.
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4. PROCEDURE / METHODOLOGY: 4.1 Study and interpretation of various musical styles
The sound of the clarinet is usually described as sweet, dark and smooth, so it is usually associated with slow, quiet and very expressive music, but this is only the low register or chalumeau. This instrument has a great register not only in octaves, but also in expressive characteristics. In the middle register, the clarinet changes its sound a bit, becoming firmer and louder, and in the high register, the sound of the clarinet is completely different to the previous, as it is very bright, powerful, loud and even aggressive. This is the favorite tone in the East-European cultures and styles of music as Klezmer, Balkan and Mediterranean culture in general. Through the study and performance of music from various cultures where the clarinet has a leading role, as previously mentioned, I have been able to analyze some scores and see which qualities are more common and why the clarinet, in that style of music, has been able to achieve prominence. My experiences with teacher Perico Sambeat and the Mediterranean Ensemble, where we played tunes from Tunisia, Serbia, Morocco, Bulgaria and his own compositions, as well as my collaboration and recordings in Serbian music Jams organized by my colleague Jelena Ciric, were a big influence to me and I could listen to this kind of music, which was a great find. Because of this I wanted to explore and learn more about these styles. Also, the visit of Javier Limón and the Mediterranean Institute and the collaboration with him on recordings (of Spanish music and Arabic influence) made me see that this could be a good way to investigate because the clarinet fit perfectly with those kind of melodies and extreme mood swings in music, able to move rapidly from virtuosity to a great nostalgia, pain and strength. There were several reference books and conversations with Eastern Europeanfriends about this kind of music, and I should also mention the big number of records and advices I received from both my colleagues and teachers. "56789 :75; <=>?@<
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One of the most recommended for the analysis of this type of music books is the "Serbian Pesmarica Naslovna-Book" a type of of Real Book of popular songs and dances from Serbia, Montenegro and the Balkans in general.
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But in addition, the target was also to explore new areas with clarinet, styles where it has not been used and which I believed possible to involve clarinet. My greatest wish was to try two styles which I have been passionate about since childhood: Flamenco and Latin-jazz. To achieve this, I carried out a study and interpretation of these styles and composed and adapted some of them for clarinet.
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My experiences in the Latin Jazz Ensemble and Cuban Music, with teachers such as Víctor Mendoza or Alain Perez, as well as my collaboration with Jazz ensembles (Mariano Steinberg) and Contemporary Jazz (Polo Orti), were extremely helpful and helped me to develop new ideas. Regarding my passion for Flamenco and Latin-jazz, I studied several books about these topics (see reference chapter), and I quickly became aware that there are many connections between both styles. So I wanted to investigate and try my acquired knowledge through composition. 4.2 Composition and adaptation for a new clarinet repertoire: Looking for my artistic voice, a first person perspective
Through a repertoire for this instrument composed in many styles -not only in Classical style, but based on modern music and with a Jazzy format-, dissemination of the clarinet’s workwould be much easier and it could also help me find my own style and create my identity as an artist. Here I will explain my creative process, my main influences and what my goals were as a composer in each of the pieces composed this year. The works are explained in some charts where I describe the main features of each, as well as the date they were written and recorded. The pieces I wrote under the East-European Music influence (but giving them a more personal approach) were "Karsi-Llamas" and "Akanónisto": both were composed in the spring semester.
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In this piece the goal was to give the clarinet a leading role, a role of solo and group leader, highlighting all its technical and sound qualities and expressive possibilities. For this, I chose to do two main “motives” or elements: A slow one, based on Dorian and Aeolian modes (Greek heritage) with a strong nostalgic and almost pitiful character. The second is much more rhythmic and energetic, written in 7/8 time signature typical of the East-European Folk music and dancing. In terms of instrumentation, as I wanted to emphasize the sound of the clarinet but also prove that it can be a leader, I chose a combination of acoustic instruments and some electrical and louder instruments, such as the electric guitar and drums. In addition, I added d arbuka to have that sound and "color" of the typical eastern Folk music.
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This tune was composed a little bit after the previous one, because of this, much of these influences, and the learning acquired about music from Eastern Europe, are still present in some elements.
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In Akanónisto I tried to focus even more on rhythmic aspects of this style of music and to use some of the concepts learned during the course, polyrhythms and metric modulation. This can be seen mainly in the introduction, where the guitar (starting alone) makes a constant rhythmic motive, an ostinato. We can hear how the chords are appearing in different parts of the bar and in different pulses, creating a sense of loss and continuous rubato, but being rhythmic to the listener. The rest of the song is composed in 5/8. It is a difficult piece because of its speed and modal harmony use and we can listen the famous "Andalusian Cadence", giving a "flamenco taste”" to the piece. In addition to these pieces, I also composed a Jazz ballad, because the clarinet is an instrument that has always been known for its expressiveness, and I believed it necessary to compose a work in Jazz style that would highlight that quality. This ballad is special because I use an entirely classical group: the String Quartet with Clarinet, a setting that was used also by great composers of music history that dedicated this structure some of their best works, (as W.A Mozart with his "Clarinet Quintet in A major, K. 581 or “Stadler Quintet,” (1789) or the famous Johannes Brahms' quintet for Clarinet and String Quartet in B minor op. 115”, (1891) composed for clarinetist Richard Mühlfeld). I try to mix both styles in an organic and fun piece, adding fragments from famous classical and Jazz pieces on an established sonata structure.
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The study I did of Flamenco and Latin music was another of my discoveries and inspirations this year. Because of this study, two new songs emerged almost simultaneously, in a style that can be classified in the genre Jazz-Fusion "Flamincou!" and "Dos Astillas".
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The common feature is that in both pieces are mixed traditional elements of Flamenco with elements of Latin-jazz.
In "Flamincou!" the Flamenco influence is much clearer with Bulerías rhythm and because Spanish Folk elements appear, as the rhythm of Seguidillas Manchegas, typical from my region.
"Dos Astillas" is more Jazzy. My intention was to mix the two types of rumba in the world, Cuban and Flamenco Rumba. I do this by introducing a third element that is very common in Jazz harmony , the Rhythm Changes. A tune that inspired me for "Dos Astillas" is "Barri de la Coma", by Perico Sambeat, in which he uses the mix of Rumba with Jazz.
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A little before the composition of these two pieces, while I was studying and playing other compositions of Latin-Jazz, in the Victor Mendoza´s ensemble, and collaborating on projects of my classmates as the recording with Luiza Sales of her song "A Frio" I started composing a new piece that I finished later after the Christmas break. The name of the piece is “ Pata Tiesa” and is more clearly influenced by Bossa Nova and Brazilian music of composers like Jobim and Joao Bosco. "56789 :75; <=>?@<
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In addition to the original compositions I wrote to practice the acquired knowledge and to express myself artistically, I did some arrangements where clarinet was used as a soloist and in chamber music; in order to go on with my goal of giving the instrument a broad new repertoire and continuing the work of HALF PAST CLARS.
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"Putting on the Ritz for Clarinets", taking this famous song by Irving Berlin in the
20s, (one of my favorites) I wanted to make an arrangement where the listener would recognize the original song without difficulty, but fully interpreted by a group of clarinets. The original idea, (which I also carried out) was to make an arrangement for the typical clarinet quartet, but could not record it because there were not enough clarinet players at school, so I reduced the original score and I did it for Clarinet Trio: Sopran Eb Clarinet, Bb Clarinet and Bass Clarinet. /#%-% 1Z = "#""
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Once recorded “Putting on the Ritz for Clarinets”, soon I thought I could change this and try it with a different instrumentation. The change should not be very substantial, because I´m happy with the arrangement for clarinets, but wanted to try it with other instrumentation. This way came Putting on the Ritz for Combo, whose instrumentation changed to: Bb Clarinet, Alto Sax, Doublebass and Drumset. /#%-% 1Z ; "#""
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4.3 Claiming the clarinet as versatile and dynamic instrument .
The idea of this section is to let the audience know about the possibilities the instrument has in terms of sound level and expressive resources. Clarinet is an instrument suitable in any type of music and, unfortunately, has lost much of its importance in the world of jazz because it did not adapt in time. Nowadays there are some clarinetists who play other kinds of music with this instrument but, sadly, we are still not enough and we have less relevance than what was had in the past as the Swing era. In order to join all these efforts and to put many modern clarinetists in contact with each other, especially those who are not playing only classical and symphonic music; I decided to create a specialized web site on this subject, a website dedicated to the modern clarinet world. The name of the web site is Clarinetjazz.es and the goal is to consolidate as a web leader in information and material for modern clarinet.
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Clarinetjazz.es aims to be a platform and a meeting point for clarinetists, but not
only this, it is a page for sharing and spreading, dedicated to all music lovers in general and clarinets in particular . For the creation of this website, I took some other models dedicated to classical clarinet as "Clariperu", "jamesdanderfer.com"; from the clarinet in general as
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and
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as
"saxopedia.com"; and from several blogs in which I collected much of the information included in clarinetjazz.es ( see References section). At the same time I analyzed other websites in search for ideas for the format of this new website. I also noted the topics that are not clearly seen and the deficiencies or lack of materials that there are about many topics related to the modern clarinet as specialized interviews, scores, articles of interest or even contact with other clarinetists. Clarinetjazz.es is the only site specialized in Jazz and Contemporary music for
clarinet. It is in English and Spanish and has all kinds of original content and compilation of various sites related. All in it is of free access. Clarinetjazz.es also helps me expose my music and my work, making use of new technologies to reach a greater number of people interested and to get closer to the general public. Clarinetjazz.es is an ambitious project, full of possibilities that comes to fill a gap
that existed until now. It is also a project for my professional future. The website is structured in the following way:
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-HOMEPAGE: Through it we can go to the two different sections that form the web: the content and material of modern clarinet, and my personal section.
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As you can see, there is the option of the two languages and the content of each of the sections is briefly explained. The logo of the web is a design of mine, made especially for this site. It includes bass clarinet in order to include all the instruments of the clarinet family.
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-ABOUT CLARINETJAZZ. THE PROJECT:
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Once is selected Clarinetjazz.es section, we access the new page of this part where how the web is articulated is explained, the project and the contents menu are included.
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-CLARINETJAZZ MENU:
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The different sections that clarinetjazz.es has, are: • Home, in which you can go directly to the home page of clarinetjazz seen before. • Media, this page mainly includes a selection of videos of live concerts, recordings and music videos of clarinetists who are today performing in the current music scene. • Material, where one can find all kinds of educational and interesting material for those clarinetists and curious people who are interested in the main topic of the web. Here you can find great clarinetists’ interviews, master classes, interesting articles, scores, transcriptions, all for free. • Links, where there is a small list of interesting sites related to the clarinet. The purpose of this section is that new groups of clarinet players who want to be into the current music scene are able to share the link for their webs, their music and contact. • Contact: This section takes you directly to my personal section for people who want to get in touch with the web, receive a warm, friendly and personal treatment. Furthermore, both sections are interconnected with their respective logos and you can go from one to the other directly at each moment.
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-PERSONAL-SECTION OF THE WEB: The aim of this section is to show my music to the general public and to promote my place in the current music scene as a clarinetist and composer, spreading and supporting my instrument.
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In this section, users can access all my personal information, my music and scores and, of course, my contact.
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-MIGUEL RUIZ SANTOS/ MENU:
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• Home: Is the last picture. Here you can access the other sections of the website as well as clarinetjazz.es sections. • Biography: In this section, you can read my Bio, you can download my Curriculum Vitae and see my picture. • Media: Here you have access to all my recordings in streaming. You also can download them if you wish. • Sheet Music: In this section I put the work I have made this year and some great solo transcriptions of Jazz clarinetists. • Contact: This section provides direct access to me via e-mail. The user also has access to my Facebook profile.
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-MY COMPOSITIONS: I think it is vital for a performer and composer that the audience knows your work not only because you play it, but also because there are other players who perform your music. In this way the diffusion of my music as well as the modern clarinet is ver important. That is why I created a special section where I make my music available and offer some solo-transcriptions of the best Jazz clarinetists in history. The intention is also that other composers for clarinet are encouraged to do the same and, either through this website or any other, it becomes much easier to get materials and works for modern clarinet in these styles, expanding the new repertoire.
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-MY RECORDINGS: In addition to showing and advertising the compositions in written format through the scores, I have also taken advantage of the resources Berklee College of Music has provided to record many of them, including almost all my compositions. Today, it is easier to promote your music directly, hearing, that reading. There are many people who can´t read music and perhaps they may be interested in my work. It is also easier that this music reaches more clarinetists through recordings. Once they have listened to it, they might D+F& +% #./ decide to play it. For this reason, and using new technologies, I also put all the recordings to listen "in streaming" through this website, completely free of charge.
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5. CONCLUSIONS
After working on this paper and my experience in the last year, my main conclusion is that the clarinet is a very dynamic and versatile instrument. It is an instrument that has many virtues in technical and expressive resources which make it a suitable instrument to fit in any type of music. Due to the different circumstances that are explained in this paper it was forgotten in the Jazz scene and replaced, but there is no other instrument with its peculiar timbre and able to bring that special sound to any setting in which it takes part. Also, thanks to work done on the web, it can be seen that currently, little by little, the clarinet is recovering the role and importance it once had. My intention is to follow this way, making my spot in current modern music, and contributing with my work to this recovery effort. This work also shows several alternatives for the role everyone connects the clarinet with: Classical music; showing many styles in which the clarinet can be part of different styles of music and express itself artistically.
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REFERENCES: -Bibliography:
-BERENDT, Joachim E. El jazz: origen y desarrollo, Fondo de Cultura Económica. Madrid, 1986. -CARLES, Phillipe, CLERGEAT, André y COMOLLI, Jean-Louis. Dictionaire du jazz , Robert Laffont Edt., París, 1988.
-CIFUENTES, Juan Claudio “Cifu” el gran jazz , - Ediciones del Prado, España, 1995 -DÍAZ LOBATÓN, Víctor. La armonía en el flamenco, Ed. QVE, Logroño, 2010 -FERNÁNDEZ, Lola. Teoría musical del flamenco, Ed.Acordes, San Lorenzo del Escorial (Madrid), 2004. -FUENTES, José. Paco de lucía tocando a Camarón, estudio de estilo, Ed. Nueva Carisch España, Madrid, 2008. -GIOIA, Ted, The history of Jazz , Oxford University Press, Oxford, 1997
- KERNFELD, Barry Dean , New Grove Dictionary of Jazz, Macmillan, London, 2002, -MCGILL, Guillermo. Flamenco jazz-real book , Ed. Flamenco Live, Madrid, 2006. -MEKALIAN
David
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Jazz
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Pete
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Petefountain.blogspot.com. Retrieved 2012-04-01. -OJESTO, Pedro. Las claves del flamenco, Ed Fundación Autor, Madrid 2008. - RIAMBAU, Joan , La discoteca ideal del Jazz , - Editorial Planeta, Madrid, 1995 -TORIJANO, Carlos. Iniciación al piano flamenco-palos fundamentales del grupo de la soleá, Ed. Carissh, Madrid, 2008.
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