Diverse/Segment / Charlie Parker -- 26-2 / John Coltrane -- Ms. Baja / Kenny Garrett -- Star eyes / Gene de Paul, Don Raye ; arr. Chris Potter -- Central Park West / John Coltrane -- Moose the mooche / Charlie Parker ; arr. Seth Carper. / text

Ephemera ; Freddie Froo ; Libeccio ; Valse celtique ; I carry your heart ; Bossa nouveau / Park Frederick "Pepper" Adams III. / text

Lecutre: Thematic structures in modal jazz improvisation -- Mantra no. 2 / Bennett Wood. / text

The young age of the saxophone in the existence of the music world has influenced the instrument���s repertoire and programs to be versatile in genres and stylistic influences. This program features styles from several time periods and cultures including 20th and 21st century contemporary saxophone and piano duets, Brazilian choro, electronic music, and jazz. The nature of the instrument also allows pieces written for other instruments to take a different characteristic and open new meaning to a piece when played on the saxophone. For example, the element of passion in Brahms���s Sonata in F minor No. 1 for clarinet takes on new form when played on the saxophone. The goal of the program is to feature both music that the saxophone is important in creating, and that is important in the existence of the saxophone as a solo and ensemble instrument. / Mary Pappert School of Music; / Music Performance / MM; / Recital;

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2008. / Directed by Steven Stusek; submitted to the School of Music. Title from PDF t.p. (viewed Sep. 4, 2009). Includes bibliographical references (p. 100-101).

Saxophonist Chris Cheek has been a reference for his work as a sideman with some of the most established jazz artists in the international jazz scene of the last twenty-five years. Despite his importance, there is lack of detail in the available publications about Cheek. The short length and journalistic character of the publications only produce surface descriptions of Cheek's style. There is a need to further describe the melodic elements present in Chris Cheek's style in order to have a better understanding of the implications and importance of these elements across the history of jazz saxophone and jazz pedagogy. In the past, several scholarly works have described the improvisational styles of jazz musicians using a multitude of analytical tools. The design of those studies often fails to provide a comprehensive view of the improviser's style because of the limited scope of the analyzed sources or the specific focus of the analysis. This analytical study presents a comprehensive view of Chris Cheek's style through the motivic and voice-leading analyses of six improvisations by the saxophonist. This design allows the study to discern between motivic development processes, melodic structures, formulaic material, and harmonic structures that belong to the saxophonist's idiom. By presenting the elements in Cheek's style, this study is able to show the importance of motivic and voice-leading coherence in jazz pedagogy as well as the importance of Cheek's style as a reference for lyricism.