Blurring the Lines: the Importance of Classical Music in Jazz

1380 Words6 Pages
Blurring the Lines: The Importance of Classical Music in Jazz 6-9/11 The traditions of jazz and classical music share few similarities in their evolutions. The former is a relatively recent music, descending from military bands and traditional African chant and blues, whereas the latter is a timeless evolution of theory and compositional practices, exemplified by the canonic works of Western European history. But in these two seemingly different traditions, there is a unification, sometimes intentional, sometimes not, that transcends boundaries. That unification is in the language, the harmony and melodies, of the music, and it behooves us all (that is, students of jazz) to give a great deal of credence to any artist who has mastered this language, no matter the medium in which it is performed. I intend to argue that for a jazz player to be a holistic musician, a master of styles, they must immerse themselves in both the traditions of the classical composers and the jazz performers, for in actuality, they are one and the same. In the modern school music program, that is middle school through high school, it is generally assumed that players learn a degree of classical technique before attempting to play jazz.[1] This is necessary for introducing a number of musical prerequisites such as tone production, note reading, proper/alternate fingerings, musical terms, and basic technical proficiency.[2] However, this need not be the end of the jazz player's classical studies. In fact, in the case of many successful jazz players, it is just the beginning. Bassist Neils-Henning Orsted Pederson has cited J.S. Bach as a primary influence on his playing and has even performed the “Minuet II” from his Suite for Cello Solo live in concert.[3] Pianist Herbie Hancock claims to have fused the contrapuntal practices of Mozart and Bach into his improvisation.[4] Many
Open Document