• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.1
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• pp.56-61
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• 2015

This is the Study of the Bass performance of the Jimmy Blanton who is first pioneer of Jazz Style Bass playing. Since the contrabass is using in jazz Performances Before jimmy Blanton, playing technique was mainly played repeatedly with simply two or four Beat with Root or 5th degree of Chord Tone. In Other words, there was only root based Note along with Harmony which doesn't have Bass Solos or Melodic phrase Appeared in Bass playing. Jimmy Blanton Was the First Bass Player who changes This Traditional Concept of Jazz bass playing after New Orleans Jazz era. He was introduced variety of accompaniment Style with Various rhythmic phrase and Bass Soloing like a horn Player. We could know that His Style Continues to Such as Ray Brown, Paul chambers who has a big Name after Jimmy Blanton. I analyzed accompaniment Style and solo techniques Of Jimmy Blanton with the Song "Cotton tail and MR.JB Blues" Which He Performed with Duke Ellington. I learned a lot while I'm analyzing his Performing Style from Jimmy Blanton, such as Target Note playing, using Chord Tones and Arpeggios, Melodic Solo Style, Jazz Style Bowing Technique, Question and Answer Phrasing etc. I could notice That He Was the true Pioneer of the First Bass player In the Early Jazz days.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.12
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• pp.8830-8835
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• 2015

As the smallest unit in the composition of any melody, motive forms the basis for melodic tunes and establishes a starting point for any creation. Among other melody composition methods, how to form a motive, change it, and refine it to develop a solo is important in playing solos, and in an impromptu jazz solo, analyzing how motive is changed and developed and using it can be a method or idea to approach a more melodic solo. This thesis consists of a thorough analysis of the kinds of developmental methods that were used to change and advance motives in three solos by Larry Grenadier, a musician who is active with creative ideas in many genres of contemporary jazz music. After such analysis, these motive development methods were applied to a rendition. Since judgment was used in the motive development methods mentioned in the introduction, elements in the methods that appeared to be motives but were impossible to analyze were excluded from the analysis, therefore making it one limitation of this study. There will be a need for future studies to overcome this limitation.

• Journal of Digital Convergence
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• v.15 no.6
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• pp.377-383
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• 2017

In this thesis, Improvisation of Jazz Vocal that can be characterized as Jazz music, namely practice of Scat suggest that way of applied approach that root position of chord and chord tones. Scat plays a solo using reproduced tunes of meaningless scat syllable that is not use the lyrics and melodies, which are written in a score. For this, Using the root position of chord is a reference point that Jazz vocal constructs a musical melody. Singing person can develop that reference point from simple scat to develop increasingly complex scat and can express that musical expression and communion. It analyzed the music functionally with a standard Jazz music 'All of me' as the center from composition of chord tone that improvise song to bass line, bass scat, analysis of chord tones arpeggio and expression. In this thesis, the improvisation of a Jazz vocal that may seem somewhat abstruse and complex could be relatively easy to construct through a gradual approach.