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The Global ETD Search service is a free service for researchers
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Showing 1 to 2 of 2 (0.033 seconds)Spelling suggestions: "subject:"choy wyner"" "subject:"choy syner""
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A Legacy of McCoy Tyner from 1962 to 1967: Chick Corea's and Kenny Kirkland's Intervallic Improvisational Tendencies with Pentatonic and Octatonic Scales from 1968 to 1996Kim, Yeeun 05 1900 (has links)
This research aims to trace the influence of McCoy Tyner's style of "intervallic improvisation" on Chick Corea and Kenny Kirkland, as evident in both later pianists' use of triad shapes and patterns based on pentatonic and octatonic scales. While the languages of Chick Corea and Kenny Kirkland were influenced by Tyner, they each subsequently established different harmonic structures and rhythmic devices. Therefore, I describe the stylistic similarity of pentatonic cells based on an intervallic approach to improvisation from one generation to the next with Tyner's improvisational vocabulary found in Kenny Kirkland and Chick Corea. Then, I demonstrate its modernization with octatonic patterns and triad pairs in the jazz tradition via a comparison of the improvisational tendencies of Kirkland and Corea.
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Beyond Fourths and Pentatonics: A Critical Analysis of Selected Recordings of McCoy Tyner from 1962 to 1963Satterthwaite, Gregory 05 1900 (has links)
In this paper, I explore the early musical language of McCoy Tyner. Today, Tyner is recognized mostly for his use of quartal harmony and pentatonic scales despite having made recordings in his early career that reflect a more mainstream approach. In an effort to expand how Tyner is represented, I argue that Tyner's early style was characterized by a graceful balance of tradition and innovation, a masterful blend of bebop syntax with pentatonic melodies and quartal harmonies. The recordings that I analyze and discuss are: "Effendi," "Cousin Mary," and "Newport Romp." I transcribed and analyzed selected portions of these recordings in order to better understand his early musical language as a soloist from 1962 to 1963. A portion of this paper is focused on the early reception of Tyner, which acknowledged him as an accomplished mainstream player with a firm grasp of the jazz tradition. Ultimately, my analysis shows that Tyner's early style was a balance of tradition and innovation, incorporating bebop syntax, pentatonic melodies, and quartal harmonies.
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