xxv, 492 p. ： music / This study applies Schenkerian theory to Chet Baker's jazz improvisations in order to uncover the melodic, harmonic, and contrapuntal hallmarks of his style. Analyses of short excerpts taken from multiple recorded improvisations reveal Baker's improvisational vocabulary, which includes recurring underlying structures that Baker embellishes in a wide variety of ways and places in a wide variety of harmonic contexts. These analyses also explore other traits (rhythmic, timbral, etc.) that appear in Baker's improvisations throughout his career. The dissertation culminates in three illustrative analyses that demonstrate the ways in which Baker constructs single, unified improvisations by masterfully controlling the long-range voice-leading tendencies of his improvised lines. As he weaves his vocabulary into these lines, he creates improvisations that unfold in a way that is logical, satisfying in the fulfillment of expectations, and motivically cohesive on multiple levels of structure. / Committee in charge: Steve Larson， Co-Chair； Jack Boss， Co-Chair； Stephen Rodgers， Member Anne Dhu McLucas Member； George Rowe， Outside Member； Timothy Clarke， External Contributing Member

This bachelor essay aims to explore how composition with pentatonic scales can help to expand the vocabulary of a jazz improviser. It also has the purpose of expanding the knowledge of the relationship between harmony and pentatonic scales. I have written five melodies with five different pentatonic scales to see how composing can affect my improvisational skills on the tenor saxophone. The method is to get familiar with the scales, write a melody and then harmonize it.  Composition utilizing pentatonic scales can affect how you improvise. The pentatonic scales provide sounds that can be very useful. I play larger intervals when improvising. It was also beneficial to dig deep into the pentatonic landscape and to find the spiciest notes of each scale. After this study, I have a better knowledge of harmony and the pentatonic scales that can go with it. During this investigation, I have considered doing this again, choosing scales whose span is larger than one octave. / <p>Kompositör och arraggör: Emil Kjellqvist</p><p>Repertoar: Änglatrumpet, Körsbär, Skalman, På väg hem, Rosenlundsparken.</p><p>Medverkande musiker: Emil Kjellqvist- tenorsaxofon, Tumi Torfason- trumpet, Isac Schillberg- altsaxofon, Melker Annas- trombon, David Stener- piano, Olle Lannér Risenfors- kontrabas, Filip Öhman- trummor.</p><p>Bifogar även en ljudfil ifrån min examenskonsert med ovansatående musiker samt låtar. </p>

This study documents and analyzes cyclic patterns used as melodic vocabulary in John Coltrane's improvisations from compositions of 1965 to 1967. The analysis is categorized in two distinct sections. The first section analyzes melodic vocabulary that is derived from the cycle of descending major thirds progressions found in the compositions of 1959 to 1960. The second section analyzes melodic vocabulary that is derived from Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns using the theoretical terminology incorporated in the treatise. Musical examples consist of patterns from the Thesaurus and excerpts from selected improvisations of John Coltrane as transcribed by Andrew White. Important scholarly contributions relevant to the subject by Carl Woideck, Lewis Porter, David Demsey, and Walt Weiskopf are included. Every effort has been made to cite interviews with musicians and commentaries by writers contemporary to that period of time with special emphasis on the important influence of Thelonious Monk, Miles Davis, and Ornette Coleman. Chapter headings include: Literature Review and Methodology; Thelonious Monk, Miles Davis, and Ornette Coleman: Converging Influences; Analysis: Coltrane's Major Thirds Harmonic Cycles Used as Melodic Vocabulary; Interval Cycles in Coltrane's Melodic Vocabulary Based on Patterns from Slonimsky's Thesaurus; Summary and Conclusion.

This study examines the evolution of the improvisational vocabulary utilized by bassist Marc Johnson over the course of his career. Through interviews and musical analysis the study contextualizes Johnson’s musical influences, considers how they shaped his development, and examines his role in the legacy of the stylistic lineage established by Scott LaFaro with the Bill Evans Trio. A survey of literature concerning Johnson, Scott LaFaro and Eddie Gomez is included, as well as a discussion of the impact of apprenticeship on Johnson’s career. The study illuminates aspects of Johnson’s current vocabulary and how he has synthesized influences to create a distinctive vocabulary, not derivative of Scott LaFaro or Eddie Gomez, but incorporating elements of their style in the composition of his own voice.