A Comparison of The Improvisational Styles of Trombonists Conrad Herwig and Steve Davis

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2015-04-24
A Comparison of the Improvisational Styles of

Trombonists Conrad Herwig and Steve Davis
Andrew T. Hamilton
University of Miami, ahjazzbone@gmail.com
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UNIVERSITY OF MIAMI
A COMPARISON OF THE IMPROVISATIONAL STYLES OF TROMBONISTS

CONRAD HERWIG AND STEVE DAVIS
By
Andrew Hamilton
A DOCTORAL ESSAY
Submitted to the Faculty

of the University of Miami
in partial fulfillment of the requirements for
the degree of Doctor of Musical Arts
Coral Gables, Florida
May 2015
© 2015
Andrew Hamilton
All Rights Reserved
UNIVERSITY OF MIAMI
A doctoral essay submitted in partial fulfillment of

the requirements for the degree of
Doctor of Musical Arts
A COMPARISON OF THE IMPROVISATIONAL STYLES OF TROMBONISTS

CONRAD HERWIG AND STEVE DAVIS
Andrew Hamilton
Approved:
__________________________________ __________________________________
Rachel Lebon, Ph.D. Martin Bejerano, M.M.
Professor of Jazz Vocal Performance Assistant Professor of Jazz Piano
__________________________________ __________________________________
Dante Luciani, M.M. M. Brian Blake, Ph.D.
Lecturer of Jazz Trombone Dean of the Graduate School
__________________________________
Timothy Conner, B.M.
Lecturer of Trombone
HAMILTON, ANDREW (D.M.A., Studio Music and Jazz)
A Comparison of the Improvisational Styles of (May 2015)

Trombonists Conrad Herwig and Steve Davis
Abstract of a doctoral essay at the University of Miami.
Doctoral essay supervised by Professor Rachel Lebon.

No. of pages in text. (95)
The purpose of this essay is to analyze the playing styles of jazz trombonists Conrad
Herwig and Steve Davis, and compare them side-by-side. Five improvised solos by each
player are transcribed. The transcriptions are selected from two albums that the
trombonists recorded together, Conrad Herwig’s Osteology and A Jones for Bones Tones.
The melodic, harmonic, rhythmic, and stylistic contents of the solos are compared, in
order to determine in what ways the two subjects are similar, and in what ways they are
different. Musical examples are cited throughout the analysis, and the full transcriptions
are included in the appendix, as well as interviews with both Herwig and Davis.
TABLE OF CONTENTS
Page
LIST OF EXAMPLES ........................................................................................................ v!
CHAPTER 1 INTRODUCTION ........................................................................................ 1!

Purpose of the Study ............................................................................................... 2!
Need for the Study .................................................................................................. 3!
Facets of Style to be Compared .............................................................................. 4!
Melodic Content................................................................................................ 4!
Harmonic Content ............................................................................................. 5!
Rhythmic Content ............................................................................................. 5!
Stylistic Inflection ............................................................................................. 5!
Biographical Information ........................................................................................ 5!
Conrad Herwig .................................................................................................. 5!
Steve Davis ....................................................................................................... 7!
Summary ................................................................................................................. 7!
CHAPTER 2 LITERATURE REVIEW ............................................................................. 9!

Summary ............................................................................................................... 13!
CHAPTER 3 METHOD ................................................................................................... 14!

Transcription Procedure ........................................................................................ 14!
Interviews.............................................................................................................. 15!
Selected Recordings .............................................................................................. 15!
Summary ............................................................................................................... 16!
CHAPTER 4 ANALYSIS OF SOLOS ............................................................................. 17!

Melodic Content.................................................................................................... 17!
Harmonic Content ................................................................................................. 28!
Rhythmic Content ................................................................................................. 34!
Stylistic Content .................................................................................................... 42!
Conclusion ............................................................................................................ 47!
BIBLIOGRAPHY ............................................................................................................. 49!
APPENDIX A ................................................................................................................... 51!

Interview with Conrad Herwig ............................................................................. 51!
APPENDIX B ................................................................................................................... 57!

Interview with Steve Davis ................................................................................... 57!
APPENDIX C ................................................................................................................... 62!

Ten Selected Transcriptions .................................................................................. 62!
iii
APPENDIX D ................................................................................................................... 91!
Consent Forms ...................................................................................................... 91!
iv
LIST OF EXAMPLES
Example Page
4.1 “Syeeda’s Song Flute,” mm. 19-23.............................................................................18
4.3 “Syeeda’s Song Flute,” mm. 105-108.........................................................................18
4.4 “Que Viva Barry,” mm. 19-23 ....................................................................................19
4.5 “Que Viva Barry,” mm. 77-90 ....................................................................................19
4.6 “It Ain’t Necessarily So,” mm 21-26 ..........................................................................21
4.7 “It Ain’t Necessarily So,” mm.46-47, 58-59, 114-115 ...............................................22
4.8 “It Ain’t Necessarily So,” mm. 105-106 .....................................................................22
4.10 “Slide’s Routine,” mm. 135-136...............................................................................23
4.11 “It Ain’t Necessarily So,” mm 317-320 ....................................................................23
4.12 “Slide’s Routine,” mm. 13-14, 17-18 .......................................................................24
4.13 “Que Viva Barry,” mm. 82-87 ..................................................................................24
4.14 “Slide’s Routine,” mm. 61-64...................................................................................25
4.15 “You Don’t Know What Love Is,” mm. 8, 15 ..........................................................25
4.16 “You Don’t Know What Love Is,” mm. 24-25, 28 ...................................................26
4.18 “Que Viva Barry,” mm. 16-18 ..................................................................................26
4.19 “It Ain’t Necessarily So,” mm. 281-284, 299-302 ...................................................27
4.20 “You Don’t Know What Love Is,” mm. 32-33 .........................................................27
4.21 “Que Viva Barry,” mm. 1-9 ......................................................................................28
v
4.22 “It Ain’t Necessarily So,” mm. 21-26 .......................................................................29
4.24 “Que Viva Barry,” mm. 36-38 ..................................................................................30
4.28 “Syeeda’s Song Flute,” mm. 59-61...........................................................................33
4.30 “Slide’s Routine,” mm. 9-12.....................................................................................35
4.31 “Slide’s Routine,” mm. 105-108, 135-138 ...............................................................36
4.32 “You Don’t Know What Love Is,” mm. 0-2 .............................................................36
4.34 “It Ain’t Necessarily So,” mm. 365-372 ...................................................................37
4.36 “Que Viva Barry,” mm. 30-33 ..................................................................................38
4.38 “Que Viva Barry,” mm. 82-89 ..................................................................................39
4.40 “It Ain’t Necessarily So,” mm. 109-111, 120-122 ...................................................40
4.42. “Que Viva Barry,” mm. 58-61 ............................................................................... 41
4.46 “Que Viva Barry,” mm. 34-37 ..................................................................................44
vi
4.50 “Syeeda’s Song Flute,” mm. 117-121.......................................................................46
4.51 “You Don’t Know What Love Is,” m. 27 .................................................................46
vii
CHAPTER 1
INTRODUCTION
For many years the trombone was considered to be rather unwieldy among the
jazz community. It was thought to be incapable of executing the fast passages that the
trumpet, saxophone, and piano were known for. This perspective was challenged time
and again by the trombonists of the twentieth century. From Jack Teagarden to J.J.
Johnson, then Frank Rosolino and Carl Fontana, each innovator stretched the technical
boundaries of the trombone further than the last.
As the trombone gained respect among jazz musicians, people began to transcribe
the improvisations of trombonists, although still to a far lesser degree than other jazz
instrumentalists. By and large the jazz community is still lacking in the study of
trombonists as compared to other instruments. Of those studies that have been done, the
majority have been about the historical pioneers of the instrument such as Johnson and
Rosolino. Very few studies have been done on contemporary trombonists.
Conrad Herwig and Steve Davis are two of the most prolific living trombonists.
Combined, they have recorded over 36 albums as leaders, and several hundred albums as
sidemen.12 Although they are both undisputedly successful players of the same
instrument, they have vastly contrasting styles. The jazz trombone community, and jazz
musicians on the whole, would benefit greatly from an in-depth analysis of these two
masters of the trombone due to the quality and variety of vocabulary represented in their
1
“Biography,” Steve Davis, accessed April 8, 2014, http://www.stevedavis.info.
2
“Press Materials,” Conrad Herwig, accessed April 8, 2014,
http://conradherwig.com/pressmaterials.php.
1
2
solos. A transcription and analysis of their solos not only provides the student with
specific vocabulary, but it also provides him or her with the concepts behind that
vocabulary, thus facilitating the spontaneous composition of their own solos.
Aside from the value of transcribing Davis and Herwig independently, there are
two additional factors that make this pair a worthwhile study. These trombonists have
extremely different styles. The vocabulary they use, as well as the techniques they use in
their playing are almost polarized. The second advantage in comparing these two
subjects is that they have recorded two albums together. This provides a unique
opportunity to compare them performing the same pieces, with the same rhythm section,
from the same session. Often times, when two musicians’ improvisations are compared it
is done so from the standpoint of different compositions, and from different points in the
subjects’ lives and careers, causing a disparity in the context in which the solos were
composed.
Purpose of the Study
The purpose of this essay is to transcribe and analyze specific solos of Conrad
Herwig and Steve Davis, to compare and contrast the melodic, harmonic, rhythmic, and
stylistic content of the solos, and to add to the existing jazz trombone literature.
Herwig and Davis were specifically chosen for their high level of improvisational
abilities, their success in the jazz world, their contrasting styles, and the fact that they are
currently performing and recording.

3
Need for the Study
Compared to the wealth of analytical literature available about jazz trumpeters,
saxophonists, and rhythm section players, there are very few studies of jazz trombonists.
Analyzed transcriptions are a valuable resource to the jazz students and professionals. As
renowned jazz musician and Educator David Liebman states on his website:
“For jazz, the most valuable form of imitation is a direct master-apprentice

relationship in which the live model (master) demonstrates directly to the student
demanding immediate and exact repetition until mastered before moving on.
Learning in this way becomes a natural outgrowth of constant exposure and
reinforcement on the spot. But without that opportunity, I have found
transcription is the next best method…the best players are usually the ones who
will tell you immediately that so and so was their main inspiration and they began
copying him. This is a process – a means to and end and to my mind very
necessary.”3
While there are an increasing number of trombonists’ transcriptions available,
very few of these are accompanied by analyses, which in many ways is the most
important part of transcribing. It is through the analysis that students can learn the
underlying concepts that will allow them to improve their own improvisational skills.
The jazz trombonist can gain insight into the improvisational language of two
masters of the craft and the techniques they implement. Other jazz instrumentalists can
obtain vocabulary that they would not ordinarily encounter and gain an understanding of
the technical aspects of an instrument other than their own. Non-jazz musicians can learn
about improvisation and the trombone in general from this study.
3
David Liebman, “The Complete Transcription Process,” David Liebman Official Website,
accessed April 29, 2014, www.daveliebman.com/earticles2.php?DOC_INST=13.
4
Facets of Style to be Compared
In order to best analyze and compare the subjects’ improvisational styles, the
content of their solos is broken down into four specific categories. These categories are:
melodic content, harmonic content, rhythmic content, and stylistic inflection. The author
has developed this four-point analysis because it shows a complete picture of an
improviser’s style. It is based on an amalgamation of previous studies such as Dr.
Rodney Lancaster’s “Transcription and Analysis of Selected Trombone Solos from J.J.
Johnson’s 1964 Recording Proof Positive,” Dr. David Lambert’s “A Comparison of
Three Divergent Jazz Trombone Styles from 1953: Jack Teagarden, J.J. Johnson, and
Frank Rosolino,” and Dr. Timothy Pitchford’s “The Improvisation of Hal Crook”4,5,6 This
method provides the easiest side-by-side comparison of the different facets of playing
style.
Melodic Content
Within the topic of melodic content there are several techniques that can be
employed in order to construct a musical solo. The intervallic relationships within the
lines are compared to determine whether each subject tends to favor scalar passages,
large intervallic leaps, or a mixture of both. The contour of the lines is also studied to
compare the over-arching “shape” of the solos. Patterns and quotes of pre-existing
melodies that are present in the solos are also noted.
4
Rodney Lancaster, “Transcription and Analysis of Selected Trombone Solos from J.J. Johnson’s
1964 Recording Proof Positive” (D.M.A. Essay, University of Miami, 2009).
5
David Lambert, A Comparison of Three Divergent Jazz Trombone Styles from 1953: Jack
Teagarden, J.J. Johnson, and Frank Rosolino (D.M.A. Essay, University of Miami, 2005).
6
Timothy Pitchford, “The Improvisation of Hal Crook” (D.M.A. Essay, University of Miami,
2005).
5
Harmonic Content
With regard to harmonic content, the main characteristic to analyze is whether or
not the subjects’ solos adhere to the predetermined chord structure of the tune. If the solo
deviates from the traditional chord changes, the superimposed chords are identified.
Rhythmic Content
There are many different rhythmic aspects of improvisation. The subjects’ swing
feels are compared. It is also noted if each soloist implements specific subdivisions more
than the other (i.e. quarter notes, eighth notes, triplets, etc.). The solos are also analyzed
for recurring rhythmic motives.
Stylistic Inflection
The solos are analyzed for any and all stylistic devices. These include but are not
limited to: falls, doits, smears, scoops, growls, vibrato and multiphonics.
Biographical Information
Conrad Herwig
Conrad Herwig was born on November 1, 1959 in Lawton, Oklahoma. He
studied with Trummy Young during his adolescence and high school years while living
in Hawaii. After graduating from Punahou high school he enrolled in the University of
North Texas where he played in the One O’clock Lab Band. He did not finish his degree
at UNT but instead joined Buddy Rich’s band and began touring professionally. He later
earned a Bachelor’s degree in Afro-Caribbean Ethnomusicology from Goddard College
in Plainfield, Vermont, and eventually earned a Master’s in Jazz Studies from Queens
College in New York.

6
Herwig’s professional career started with big band work. He played in big bands
led by Clark Terry, Cab Calloway, Buddy Rich, Toshiko Akiyoshi, Mel Lewis and Frank
Sinatra. He also worked with Mario Bauza and his Afro-Cuban Jazz Orchestra, which
would pave the way for his later work in the Latin Jazz field.
His first album With Every Breath was released in 1987.7 He continued
recording albums every few years. It was during this time that Herwig began playing
with Eddie Palmieri. He also worked with Paquito D’Rivera and served as musical
director of the Mingus Big Band. Another of Herwig’s most important career moves was
joining Joe Henderson, with whom he both toured and recorded.
In 1996 he released The Latin Side of John Coltrane.8 This album was comprised
of original Latin Jazz influenced arrangements of many of Coltrane’s works. This was
the first of several Latin Jazz inspired homage albums. This was also his first Grammy
nomination for “Best Latin Jazz Recording.” This album was followed by Another Kind
of Blue: Latin Side of Miles Davis in 2004, Qué Viva Coltrane in 2004, Sketches of Spain
Y Mas in 2006, Latin Side of Wayne Shorter in 2008, and Latin Side of Herbie Hancock
in 2010.910111213 Throughout this time Herwig continued to release swing albums as well.
7
Conrad Herwig, With Every Breath, recorded in 1987, Ken Music, 008, CD.
8
Conrad Herwig, The Latin Side of John Coltrane, recorded in 1996, Astor Place, 4003, CD.
9
Conrad Herwig, Another Kind of Blue: Latin Side of Miles Davis, recorded in 2004, Half Note,
4517, CD.
10
Conrad Herwig and Brian Lynch, Qué Viva Coltrane, recorded in 2004, Criss Cross, 1254, CD.
11
Conrad Herwig and Brian Lynch, Sketches of Spain y Mas, recorded in 2006, Half Note, 4530,
CD.
12
Conrad Herwig, The Latin Side of Wayne Shorter, recorded in 2008, Half Note, 4535, CD.
13
Conrad Herwig, The Latin Side of Herbie Hancock, recorded in 2010, Half Note, 4544, CD.
7
As an educator, Herwig has had great success as well. In addition to being on the
Board of Advisors of the International Trombone Association, he has also taught at
Rutgers University as Professor of Jazz Trombone, Improvisation, and Composition and
Arranging. He is also a visiting Professor of Jazz Studies at Julliard.1415
Steve Davis
Steve Davis was born in Worcester, Massachusetts in 1967. He graduated from
the Jackie McLean Institute, part of the University of Hartford, in 1989. After
graduating, Davis began playing with Art Blakey. He returned to Hartford to join
McLean’s group in 1992. He also began teaching at the McLean Institute at this time.
Davis became a member of Chick Corea’s Origin band in 1997. He also
co-founded a group called “One for All” along with Eric Alexander, Jim Rotundi, David
Hazeltine, John Webber, and Joe Farnsworth. This group has recorded 13 albums since
its inception.
Since 1994, Davis has recorded 16 albums as a leader. His albums have featured
such artists as Roy Hargrove and Hank Jones. He is also an accomplished composer and
arranger and has published a number of original arrangements through Second Floor
Music.16
Summary
This essay provides transcriptions and analyses of solos by trombonists Conrad
Herwig and Steve Davis. These contemporary subjects were selected due to their
14
http://www.conradherwig.com/pressmaterials.php.
15
Conrad Herwig, interview by Michael Davis, October 1, 2014, Bone2pick Series.
16
“Biography,” Steve Davis, accessed April 8, 2014, http://www.stevedavis.info
8
mastery of the trombone, professional success, and contrasting styles. The solos are
analyzed for melodic, harmonic, rhythmic, and stylistic content. The content of the solos
are compared.
This essay will be beneficial to the jazz community by adding to the
relatively scarce amount of literature available on jazz trombone playing. It will provide
students with both improvisational vocabulary and insight into the thought processes of
two eminent artists.

CHAPTER 2
LITERATURE REVIEW
While there is a relatively small amount of literature available in which trombone
solos are analyzed for content, there is quite a diverse body of literature that was
consulted during the writing of this essay. There is also relatively little writing on both
Steve Davis and Conrad Herwig, as they are contemporary players. A number of
historical books were consulted in order to understand the lineage of jazz trombonists to
provide historical context. There are also a number of books that provide transcriptions
of trombonists that were useful in researching the transcription process and in providing
historical context leading up to the careers of Mr. Herwig and Mr. Davis. The
dissertations available that provide transcriptions and analyses of other trombonists’ solos
were consulted as models for essay formatting and organization as well as the
transcription process. In addition to the few books in which the subjects are mentioned,
their websites were also valuable resources for their biographical information. The
subjects are mentioned in several journal articles and interviews. A large number of the
subjects’ albums were studied as well to determine their playing styles.
Feather and Gitler’s The Biographical Encyclopedia of Jazz contained brief
biographies of a number of historical jazz trombonists.17 Jazz, The Essential Companion
was also consulted for historical and biographical information about Herwig and Davis’s
predecessors.18 Collier’s The Making of Jazz, A Comprehensive History was used as well
17
Lorraine Feather and Ira Gitler, The Biographical Encyclopedia of Jazz (New York: Oxford
University Press, 1999).
18
Ian Carr, Digby Fairweather, and Brian Priestley, Jazz, The Essential Companion (New York,
N.Y.: Prentice Hall Press, 1998).
9
10
for historical research although being published in 1978; its scope was more limited in
that none of today’s jazz musicians were included.19
In researching the transcription process and effective analyses of the solos’
content, a number of resources proved invaluable. Jazz Styles and Analysis: Trombone
by David Baker is one of the few published books of trombone solos that include an
analysis of each solo. Baker’s analyses are limited in that they highlight things such as
melodic sequences and rhythmic motives but neglect specific harmonic choices.20 Niels
Lan Doky also published a book of transcriptions complete with analyses entitled Jazz
Transcription: Developing Jazz Improvisation Skills Through Solo Transcription and
Analysis.21 Both of these texts provided advice for how to transcribe and what aspects of
the solos to analyze.
A number of dissertations that have a similar scope were consulted. They
provided a model for the organization of the essay itself as well as many of the source
materials. The layout of the transcriptions and the analytical techniques the authors used
were also helpful in the construction of this essay. Many of these essays provided
notation that was easy to read. Each essay contained several elements of style and it was
through a combining of these elements that the most complete four-point analysis was
developed. One such dissertation was Isadore Rudnick’s “A Stylistic Analysis of Melody,
19
James Lincoln Collier, The Making of Jazz, A Comprehensive History (Boston: Houghton
Mifflin Co., 1978).
20
David Baker, Jazz Styles and Analysis: Trombone (Chicago: Downbeat Music Workshop
Publications, 1973).
21
Niels Lan Doky, Jazz Transcription: Developing Jazz Improvisation Skills Through Solo
Transcription and Analysis (Rottenburg: Advance Music, 1992).
11
Harmony, Rhythm and Sound Quality in Selected Improvised Solos of Slide Hampton.”22
Another essay consulted was “The Improvisation of Hal Crook” by Timothy Pitchford.23
Rodney Lancaster’s “Transcription and Analysis of Selected Trombone Solos from J.J.
Johnson’s 1964 Recording Proof Positive” was also used as a reference.24 The two
works that most inspired this essay David Lambert’s “A Comparison of Three Divergent
Jazz Trombone Styles from 1953: Jack Teagarden, J.J. Johnson, and Frank Rosolino.”25
And Eddie Lee Elsey Jr.’s “A Comparison of Two Distinctive Jazz Trombone Artists,
David Steinmeyer and Curtis Fuller.”26 One of the most helpful essays in preparation for
the study of Steve Davis’s style was David Phy’s “The Musical Language of Trombonist
Steve Davis.”27
There were interviews with Conrad Herwig available. Julie Gendrich published a
book in 2011 entitled Bonanza: Insights and Wisdom from Professional Jazz
Trombonists that features an interview with Herwig.28 Another interview with Herwig is
included in the book Top brass: Interviews and Master Classes with Jazz’s Leading
22
Isadore Rudnick, “A Stylistic Analysis of Melody, Harmony, Rhythm and Sound Quality in
Selected Improvised Solos of Slide Hampton” (D.M.A. Essay, University of Miami, 1999).
23
Timothy Pitchford, “The Improvisation of Hal Crook” (D.M.A. Essay, University of Miami,
2005).
24
Lancaster.
25
Lambert.
26
Eddie Lee Elsey, Jr., “A Comparison of Two Distinctive Jazz Trombone Artists, David
Steinmeyer and Curtis Fuller” (D.M.A. Essay, University of Southern Mississippi, 2008).
27
David Phy, “The Musical Language of Trombonist Steve Davis” (D.M.A. Essay, University of
Illinois, 2010).
28
Julie Gendrich, Bonanza: insights and wisdom from professional jazz trombonists (Rottenburg:
Advance Music, 2011).
12
Brass Players by Bob Bernotas in 2002.29 Conrad Herwig’s website contains a press
materials section that helped in writing the biographical portion of this essay.30
A transcription of a radio interview with Steve Davis from Jazz Radio 247 proved
valuable in providing insight into his musical influences and biographical information.31
His website was also helpful in writing the biographical section.32
Many of the artists’ albums were studied. From Steve Davis the following
albums were studied: Dig Deep (1996), Vibe Up (1998), Systems Blue (2001), and
Meant to Be (2003).33, 34, 35, 36 From Conrad Herwig the following albums were studied:
Latin Side of John Coltrane (1996), Osteology (1999), Land of Shadow (2003), Que Viva
Coltrane (2004 Brian Lynch co-leader), and A Jones for Bones Tones (2007).37, 38, 39, 40, 41
Both “Osteology” and “A Jones for Bones Tones” featured Steve Davis as well as
Herwig and it is from these two albums that the solos were selected for transcription.
29
Bob Bernotas, Top brass: interviews and master classes with jazz’s leading brass players (New
York: Boptism Music Pub., 2002).
30
http://www.conradherwig.com/pressmaterials.php.
31
Rick Holland, “Steve Davis Interview,” Jazz Radio 247, accessed April 8, 2014, http://
http://www.taichitimes.com/jazzradio247/jr247/content/view/147/1/.
32
“Biography,” Steve Davis, accessed April 8, 2014, http://www.stevedavis.info.
33
Steve Davis, Dig Deep, recorded in 1996, Criss Cross, 1136, CD.
34
Steve Davis, Vibe Up, recorded in 1998, Criss Cross, 1178, CD.
35
Steve Davis, Systems Blue, recorded in 2001, Criss Cross, 1218, CD.
36
Steve Davis, Meant to Be, recorded in 2003, Criss Cross, 1248, CD.
37
Conrad Herwig, Latin Side of John Coltrane, recorded in 1996, Astor Place, 4003, CD.
38
Conrad Herwig, Osteology, recorded in 1999, Criss Cross, 1176, CD.
39
Conrad Herwig, Land of Shadow, recorded in 2003, Criss Cross, 1230, CD.
40
Conrad Herwig, Que Viva Coltrane, recorded in 2004, Criss Cross, 1254, CD.
41
Conrad Herwig, A Jones for Bones Tones, recorded in 2007, Criss Cross, 1297, CD.
13
Summary
There were a number of worthwhile resources to pull from when preparing this
essay. In addition to the sound recordings of the artists themselves, there were interviews
available in book, journal, and website form. Both artists’ website provided biographical
information. There were several dissertations that have been written with similar scopes
of study about different subjects that were useful in organizing this essay as well as
developing a transcription and analysis method. Some books contained analyzed
transcriptions as well. Jazz history books were also studied to provide historical context.
CHAPTER 3
METHOD
The purpose of this essay is to analyze the improvised solos of Conrad Herwig
and Steve Davis on five songs of contrasting style and tempo. The solos are analyzed for
melodic, harmonic, rhythmic, and stylistic content. The content of the solos is compared.
The analyses and comparisons will provide the reader with insight into the individual
playing styles of these two artists and the differences between them. This will offer the
reader many different tools and vocabulary to integrate into his/her own improvisations.
Transcription Procedure
In order to determine the best procedure for the transcription process, several
transcription books as well as doctoral essays were studied. The best methods were
assimilated and used for this study. The main objective of the transcription is to provide
an accurate representation of the solos.
The solos were transcribed note for note in real time using CDs and headphones.
Special software called The Amazing Slow Downer was used to slow down the music
without altering the pitch or rhythm when a passage was difficult to determine otherwise.
The transcriptions were originally done with pencil and paper. Afterward, they were
transferred into the Finale 2011 notation software, as the computer-generated notation
facilitates ease of reading. In addition to pitches, rhythms, and chord changes,
articulations and stylistic markings were used to analyze each solo as closely and
thoroughly as possible. Trombonist and educator Dante Luciani proofread the
transcriptions prior to their completion.
14
15
Excerpts from the solos are included and in the essay body where they are
analyzed and compared. The complete transcriptions are included in the Appendix.
Interviews
The subjects were interviewed after the transcriptions were completed. The
interviews were conducted via telephone and then transcribed. The transcribed interviews
are presented in the appendix of this essay. The subjects were asked about their
influences, their improvisational approach, their technique, and the specific recording
dates.
Selected Recordings
The solos are taken from two recording dates. The albums are Osteology by
Conrad Herwig (Criss Cross 1999) and A Jones for Bones Tones by Conrad Herwig
(Criss Cross 2007).4243 These particular recordings were selected because they feature
both Herwig and Davis soloing on the same songs. This provides the most worthwhile
comparison. The five songs were selected for their contrasting styles and tempos.
“Syeeda’s Song Flute” by John Coltrane was chosen for it’s relatively bright tempo. The
Gershwin classic “It Ain’t Necessarily So” is performed with a 6/8 feel and therefore
provides a stylistic contrast. “You Don’t Know What Love Is” by Gene de Paul is the
ballad selection. The other two selections are originals of Herwig’s entitled “Slide’s
Routine” and “Que Viva Barry,” and are a medium minor blues and a Latin piece
respectively. These specific selections were chosen to highlight the players’ styles in
these varying musical situations.
42
Conrad Herwig, Osteology, recorded in 1999, Criss Cross, 1176, CD.
43
Conrad Herwig, A Jones for Bones Tones, recorded in 2007, Criss Cross, 1297, CD.
16
Summary
This essay provides transcriptions of five solos by Conrad Herwig and five solos
by Steve Davis on the same stylistically contrasting pieces from the albums Osteology
and A Jones for Bones Tones. The transcriptions were by hand and then entered into
Finale. The solos are analyzed for melodic, harmonic, rhythmic, and stylistic content and
compared. The analyses will provide the reader with improvisational material for study
and integration into their own solos.

CHAPTER 4
ANALYSIS OF SOLOS
The solos from the five songs have been analyzed for melodic, harmonic,
rhythmic, and stylistic content. These aspects will be discussed individually and will be
accompanied by musical examples from the solos. In some situations Herwig and Davis
do very similar things, and in some cases their approaches are quite different. Both
scenarios will be addressed and the side-by-side musical examples will help to illustrate
each point.
Melodic Content
On brass instruments, large intervallic leaps are more difficult to play than scalar
passages and thirds. This is due to the overtone series, as consecutive partials can be
executed more easily, especially at faster tempi. Both Herwig and Davis play mostly
scalar passages or in thirds in the selected solos. Herwig does tend to use larger leaps
more often then Davis does, although Davis does use them as well. In mm. 19-23 of
“Syeeda’s Song Flute” Herwig plays a passage comprised only of notes from the F major
pentatonic scale. By skipping notes in the scale he produces a line that contains several
leaps of a perfect fourth and one perfect fifth (Example 4.1). In mm. 41-44 Herwig uses
a triadic motive that produces several perfects fourths as well (Example 4.2).
17
18
Syeeda's Song Flute

Example 4.1. “Syeeda’s Song Flute,” mm. 19-23.
Gmin A b7
œ œ œ œ œ œ
œ œ œ œ œ œ œ
?4 ‰ œ
4 Syeeda's Song Flute
Gmin A b7 Gmin
Gmin A b7 Gmin
œ œ œ œ- œ œ œ œ- - œ œ œ- œJ œJ œ .
? œ œ œ - œ J œ œ -œ œ œ J œJ œ œ- œ œ œ .
3
?4 œ J J -
œ
4 J œ œ œ J J J J
J J
Syeeda's Song Flute

A b7 A b7
œ^
G G
œ œ. œ bœ. œ- œ b œ œ œ œ
b œ- œ ¿ œ . œ œ .
?4 Œ ‰ J‰
4
Although Davis does use larger intervals a few times in his improvisation over
“Syeeda’s Song Flute,” his solo contains mostly seconds and thirds as in mm. 105-108
(Example 4.3).
Syeeda's Song Flute

G A b7 G A b7
œ b œ œ œ œ œœœœœ œœœœœ œ
? 4 Œ ‰ œ bœ nœ œ œ œœœœœ œ
œ
4 J
The tempo in “Syeeda’s Song Flute” is rather brisk (!=208). “Que Viva Barry”
(!=176) provides a medium where larger intervals can be more easily executed. Davis
uses leaps of a fifth, two sevenths and a sixth in mm. 19-23 (Example 4.4).
19
Que Viva Barry

Example 4.4. “Que Viva Barry,” mm. 19-23.
œ œ-
D min11 C 7sus
œ œ b œ- b œ-
? 4 Ó. J
‰ Que Viva‰ Barry Œ Ó.
4
3
D min11
œ
D min11
œ œ œ œ
? œ^ œ
Œœ œ œ^ œ œŒ ‰ J œJ
? 4 œ^ ‰ J œ^
4
Œ ‰ œ Œ ‰
4 J
In mm. 77-90, Herwig plays another passage based on the F major pentatonic
scale, although in this case he adds the 7th scale degree as well (E♮). This again produces
several leaps of a perfect fourth (Example 4.5).
Que Viva Barry

C 7sus D min11 C 7sus

-
œ. œ œ œ œ œ œ- œ œ œ œ œ ˙. œ œ œ- œ œ
?4 Œ
4 ‰ œJ œ
Many more examples of the uses of intervals larger than a third can be found in
the transcriptions provided in the appendix. The bulk of the both solos, however, is
comprised of scalar passages, and major and minor thirds.
The contour of Herwig and Davis’s solos tends to vary as they have different
approaches to building a solo. Typically, Davis takes his time, gradually building the
solo before ascending into the upper register of the horn, while Herwig gets there much
more quickly.
20
In “Que Viva Barry” Davis starts his solo on a G in the staff, and gets to a high B♭
by m. 15. He stays within this range of a minor tenth until m. 34 when he reaches a high
C. It is in measure 43 that he reaches the lowest point in the solo, a C in the staff. The
entire solo is within this two octave range. In Herwig’s solo that same high C is the
second note played, and is followed immediately by a high D. Interestingly, his solo is
also entirely within a range of two octaves, reaching it’s lowest point in the 18th measure
(m.87). By the next bar he is already back at a high A. Both players end their solos in
the middle register of the horn.
In “It Ain’t Necessarily So,” Davis starts on an F above the staff, but this time
gets to the high C by m. 16. The E♮ in the staff in m. 32 is the lowest note, putting this
solo in the range of a minor thirteenth. Herwig starts on a high A and by the 16th measure
(m. 296) has reached an altissimo F. His low point is a D♮ in the staff in m. 320 giving
the solo a range of a minor 17th, or two octaves plus a minor third.
The ballad selection, “You Don’t Know What Love Is,” also sees Herwig at an
altissimo F by the first full measure of his solo (not including his pickups). The E♭ in the
staff a major 16th below is the lowest point and occurs in m. 12, but is included in a flurry
of 32nd notes. The lowest sustained note is an A♭ on the top line. Davis does have a high
B♭ in the second measure of his solo (m. 18), and reaches a high C in the 10th bar (m. 26).
He ends his solo on a C in the staff making the range exactly two octaves.
From these examples it is clear that both players tend to utilize similar ranges
within the solos, but Herwig gets to the high points much more quickly where Davis’s
solos have a more gradual build.

21
The use of patterns is very common among performers of jazz music. Whether
developed as patterns first and then played in a solo, or improvised first and then
analyzed as patterns, the fact remains that they are present in most if not all jazz solos. In
the essential method book by Jerry Coker, Jimmy Casale, Gary Campbell, and Jerry
Greene, Patterns for Jazz, the authors state in the introduction:
“Just as spontaneity is combined with conditioning, so is the existing style of jazz

combined with originality of expression. One is lost without the other, and so we
seldom hear an improviser’s solo that does not contain melodic fragments or
patterns: from the melody of the tune used, from a fellow performer’s solo, from
an influential player of the time, from a different tune altogether, from material
previously improvised, or from patterns (original or borrowed) currently studied
in individual practice.”44
Both players use recognizable patterns in their improvised solos. Both players
also tend to favor pentatonic patterns as they occur frequently in the solos. In “It Ain’t
Necessarily So” Davis plays an eight note pentatonic figure and then moves the exact
same pattern down in whole steps in mm. 21-26 (Example 4.6).
It Ain't Necessarily So
Example 4.6. “It Ain’t Necessarily So,” mm 21-26.
œ bœ œ œ
G b7
œ bœ œ bœ bœ œ œ bœ œ
F min7 F min7
? bb 3 Œ ¿ œ ¿
bb 4
It Ain't Necessarily SoDbm Pentatonic
Ebm Pentatonic
G b7 G b7
n œ n Gœ b7# œ œ œ n œ F min7
F min7
n œ n œ œ nœ nœ nœ n œ Gœb7
bœ
? bb n œ n œ # œ œ œ # ¿ n œ n œ œ n œ n œ n œ œ n œn œ œ b œ
4
b b? n œ
bbbb 4
3 #¿ nœ œ
Bm Pentatonic Am Pentatonic
Bm Pentatonic Am Pentatonic
44
Jerry Coker, Jimmy Casale, Gary Campbell, and Jerry Greene, Patterns for Jazz (Miami, FL:
Studio P/R, 1970).
22
Almost the exact same pattern recurs with only slight rhythmic deviation in mm.
46-47, 58-59, and 114-115 (Example 4.7).
Example 4.7. “It Ain’t Necessarily So,” mm.46-47, 58-59, 114-115.
B6
œ bœ œ œ œ œ œ^
G min7
? bb 3 Œ Œ
bb 4
Ebm Pentatonic
G b7
œ œ œ œ œ
œ œ
F min7
? bb 3 Œ ¿
bb 4 Œ
Fm Pentatonic
B6
œ bœ œ œ œ œ œ^
? bb 3 Œ Œ
bb 4
Ebm Pentatonic
Davis also uses a major triad pattern that moves down in whole steps in mm. 105-
106 (Example 4.8).
Example 4.8. “It Ain’t Necessarily So,” mm. 105-106.
G b7
œ
F min7
nœ œ œ œ œ œ œ œ œ bœ
? bb 3 œ
bb 4
Bb Triad Ab Triad Gb Triad
The opening figure of Davis’s solo on “Syeeda’s Song Flute” is a very similar
pattern as well (Example 4.9).

23
Syeeda's Song Flute

A b7 G
œ œ œ^ œ œ œ œ
œ œ^
?4 Ó ‰
4
Dm Pentatonic
Davis employs another similar pentatonic technique in his solo on “Slide’s
Routine,” this time only descending (Example 4.10).
Slide's Routine
Example 4.10. “Slide’s Routine,” mm. 135-136.
B bmin7
œœœ œ œ œ
œ œ ! œ œ nœ Aœ ! #œ œ nœ nœ
? b b 4 Ó. ! !
bbb 4
Fm Pentatonic Ebm Pentatonic Dbm Pentatonic Bm Pentatonic
Herwig also uses many pentatonic patterns. He does not repeat them verbatim but
uses slight derivations like in mm. 317-320 of the “It Ain’t Necessarily So” (Example
4.11).
Example 4.11. “It Ain’t Necessarily So,” mm 317-320.
B6 G min7 G b7
œ œ bœ œ œ
? bb 3 Œ ‰ J‰ J œ n œJ n œ n œ œ œ œ œ n œ^ œ n œ œ
bb 4 ‰ nœ
Abm Pentatonic Am Pentatonic
The second chorus of Herwig’s solo on “Slide’s Routine” does contain a minor
pentatonic figure that is repeated verbatim in shape and rhythm, but he uses different
scale degrees relative to the chord changes (Example 4.12).

24
Slide's Routine
Example 4.12. “Slide’s Routine,” mm. 13-14, 17-18.
B bmin7
œ^
3
œ
3
œ4 œ4 œ5 œ. œ
4
œ
5
œ
4
œ
3
œ
1
? bb 4 ‰ J J
bbb 4
Bbm Pentatonic
E bmin7
œ^ œ œ3 œ3 œ4 œ. œ3 œ4 œ3 œ1 œ
1 1 7
? bb 4 ‰ J J
bbb 4
E bmin7
œ^
1
œ œ
1 3
œ3 œ4 œ
Ebm.Pentatonic œ
3 4œ
œ3 œ1 œ7
? bb J J
b b b In Herwig’s solo‰on “Que Viva Barry” there is a phrase that is six measures long
3
and contains only notes from the D minor pentatonic scale except for one A♭ that adds a
bluesy color (Example 4.13).
Que Viva Barry

D min11 C 7sus
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?4 ‰ œ œ œ œ œ œ œ œ
4 Que Viva Barry
D min11
œ œœœœœœ œ œœœœ œœ œœ
œ œ œ œœ œ œ œ œ œ œ b œ œ œ n œ œ-
D min11
?œ œ œ œœ œ œ œ œ œ J œ œ
‰ œ œ œ œ œ œ œ œ œ œ bœ nœ -
4
? 4 œ3 œ œ 3 ‰ J œœ œ
4 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3
b5
Both players employ the blues intermittently in their solos. In addition to the
above example, Herwig also uses the blues in “Slide’s Routine” (Example 4.14).
25
Slide's Routine
B bmin7
œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? bb 4 ! Slide's Routine œ Ó
bbb 4
b5 b5
œ œ œ . œ œ œ œ œ œœ
œ œ œ œ . œ œ
? b b? !b œ œ4 œ œœ. œ œœ œ . œ œ œ œŒ œ ! œ œ œ
3
b b b b bb 4 ! Œ !
b
Herwig also employs the blues twice in his solo on “You Don’t Know What Love
Is” in mm. 8 and 15 (Example 4.15).
You Don't Know What Love Is

Example 4.15. “You Don’t Know What Love Is,” mm. 8, 15.
D b9
bœ œ œ œ. œ
œœœ œœœœœ
C 7b9
œ œ œ œ œ œ œ nœ œ œ œ œ œ n œ
? bb 4 ‰ ®
bb 4
You Don't
b5
Know What Love Is
Blues Scale
3
D b7
bœ œ œ.
C 7b9
œ œ
? bb 4 œ œ œ
bb 4 ‰
3
b5
Davis plays a bluesy figure on the same tune at the beginning of the last A section
in his solo and again just 3 measures later (Example 4.16).

26

Example 4.16. “You Don’t Know What Love Is,” mm. 24-25, 28.
C 7b9 F min7
œ bœ œ
? b b 4 œ. œœœ nœ œ œœœœœ œ œ œ œ œœ
bb 4 Œ ‰ ‰ !R
3 3 3 3
b5 b5
Blues Scale
D b7
? bb 4 ! ! œ bœ œ œ œ œ
bb 4
3 3 3 3
b5
Blues Scale
In “Slide’s Routine,” Davis plays a common blues idea to start his fifth chorus
(Example 4.17).
Slide's Routine
B bmin7
œ^ œ œ œ œ
œ œ œ- œ^ bœ œ œ œ œ œ œ
r
? bb 4 ‰ J Œ ‰ J
nœ
bbb 4
3
b5
Davis also employs the blues scale in his solo on “Que Viva Barry,” in mm. 16-18
(Example 4.18).
Que Viva Barry

C 7sus D min11
bœ œ œ œ œ
œ œ . œ œ.
?4 ‰ ‰ bœ œ œ. ˙
j
4
œ
J J
b5 b5
©
27
In addition to both players’ use of the blues, they do sometimes quote pre-existing
melodies. In the ten solos transcribe for this study it only occurs twice, once by each
player. Herwig begins his solo on “It Ain’t Necessarily So” by quoting the melody to
Wayne Shorter’s “Footprints,” and then paraphrases it again 14 measures later (Example
4.19).
Example 4.19. “It Ain’t Necessarily So,” mm. 281-284, 299-302.
-œ
F min7
œ- œ-
G-b 7
œ œ- œ- -
œ
F min7
œ œ œ
G b7
? bb 3
˙ œ-
bb 4 It Ain't Necessarily So 3
œ œ
G b7 G b7
œ œ œ œ œ œ œ œ œ
F min7 F min7
˙.
? bb 3 ‰ J Œ ‰ J
bb 4
4
Davis’s only quote in the selected transcriptions is his final statement on “You
Don’t Know What Love Is,” where he quotes another classic ballad, “Cry Me A River,”
although he alters the rhythm (Example 4.20).

Example 4.20. “You Don’t Know What Love Is,” mm. 32-33.
F min6 F min7
œ œ
? b b 4 œ œ œ. œ œ œ œ œ nœ ! œ œ. bœ
! œ® ˙ Ó
bb 4
Both Herwig and Davis are masters of creating very melodic solos and use the
many tools at their disposal. Using melodic patterns, the blues, and quotes from pre-
28
existing tunes to create continuity and variety in their solos, they simultaneously build
their solos by creating a contour that gives each solo a clear beginning, middle, and end.
Harmonic Content
In regard to the harmonic content of a solo, there are only two main options. One
can either play “inside” the established chord progression of the tune, or one can play
“outside” of that chord progression. When playing “outside” there are a few techniques
that can be used such as “side-slipping” or “delayed resolution.” In many cases when
playing outside of a chord, one is really just playing inside of a different chord.
For the most part, Herwig and Davis are both relatively “inside” players. They
often play ideas that fit according to standard chord-scale theory. For example, in the
opening of his solo on “Que Viva Barry,” Davis adheres exactly to the chord structure
(Example 4.21).
Que Viva Barry

D min11 C 7sus
œ˙ 3 2
˙. œ œ-4 2œ œ
4
œ- œ^3
4
œ. œ
1 6
?4 Œ ‰ J ‰J Œ Ó JÓ
4
Que Viva Barry
D Dorian C Ionian
D min11 C 7sus
6œ œ œ5 œ4 ˙5
5
œ œ
7
œ œ œ œ œ
7 1 1
œ 3 3 4 4
˙
? 4 Ó.
4 ‰ œJ Ó
3
D Dorian C Ionian
This is the case for the bulk of his solos as well as Herwig’s. There are times
when both players do deviate from the chord structure. In an example that was used
29
previously, Davis moves a pentatonic pattern down in whole steps. This technique is
commonly referred to as “planing”. This can either be seen as deviating from the chord
structure, or substituting different chords and adhering to those new chords (Example
4.22).
Example 4.22. It Ain’t Necessarily So,” mm. 21-26.
œ bœ œ œ
G b7
œ bœ œ bœ bœ œ œ bœ œ
F min7 F min7
? bb 3 Œ ¿ œ ¿
bb 4
It Ain't
Eb
Necessarily So
min7 D bmin7
G b7 G b7
nœ nœ #œ œ œ
F min7
? bb 3 n œ nœ #¿ nœ œ nœ nœ nœ œ nœ
nœ œ bœ
bb 4
G b7 G b7
#œ œ œ
F min7
nœ nœ nœ nœ #¿ nœ œ nœ nœ nœ œ nœ
B min7 A min7
? bb œ bœ
n œ using
4
bb Another way that Davis likes to deviate from the chord structure is by
chromaticism. Later in the same solo he starts an idea in the chord-scale but then ascends
chromatically leaving the pre-existing chords completely (Example 4.23).

30
F min7 G b7 F min7
nœ ¿ œ ¿ œ ¿ nœ œ nœ
? b b 3 œ œ1 n œ œ œ œ ¿ ¿ ¿
3
bb 4
It Ain't Necessarily
inside F dorian Chromatic
So
B 13#11 œ
œ #œ
G b7
œ œ
F min7
n œ œ nœ œ
G b7 œ n œ œ œ
?œ b b 3# œ ¿ œ ¿ œ ¿ n œ ¿
F B
¿ ¿ ¿ ¿ ¿
min7 13#11
? bb b b b ¿ 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
4
b
Chromatic
Another technique Davis uses is to substitute a V7-I cadence over a different
progression. In measure 37 of his solo on “Que Viva Barry” he plays an idea that
represents A7♭9 going to Dmin11 instead of the C7sus that is written (Example 4.24).
Que Viva Barry

Example 4.24. “Que Viva Barry,” mm.36-38.
C 7sus D min11
bœ œ œ œ œ œ #œ œ bœ œ œ. œ œ œ.
3 5 b9 3 7
r
?4 œ
J J Ó
4
A 7b9
Delayed resolution is the process of continuing to play the scale associated with a
chord even after it has changed in the original harmonic structure, then resolving it a beat
or two later, creating additional tension. Davis does this often. There are several
examples like the following excerpt from his solo on “It Ain’t Necessarily So” (Example
4.25).
©
31
D b7 C 7#5#9 F min7
œ œ bœ œ œ œ œ œ œ œ œ
? bb 3 œ œ nœ œ œ œ
bb 4
D b7(#11) C 7#9 F min7
Herwig employs many of these same techniques as well as some others. In mm.
38-41 of “Slide’s Routine” he uses side-slipping, or playing a half-step away,
chromaticism, and tritone substitution, or playing an augmented fourth away, in rapid
succession. He begins the chorus by establishing B♭min7 in the first measure, he then
slips up a half step to Bmin7 halfway through the second measure. Starting on beat 3 of
the second measure he chromatically descends back to the B♭min7 in measure 4. On beat
2 of measure 4 he plays a ii-V7 progression in the key of A, but it is resolving to E♭min7
making it a tritone substitution (Example 4.26).
©
32
Slide's Routine
B bmin7
œ œ œ #œ nœ #œ
œ œ œ œ œ œ œ œ œ œ œ #œ #œ
? bb 4 Œ ! R ! R ‰. R
bbb 4
Slide's Routine
B bmin7 B min7
B bmin7
#œ nœ œ œ bœ nœ bœ nœ bœ
nœ #œ#œ œœ nœNœ œAœ œ nœ œ œ œ œ œ œ nœ œ œ œ
? b b 4 #œ nœ nœ
b b# œb #4œ n œ œ œ œ b œ n œ b œ n œ b œ n œ
nœ œ Slide's Routine N œ œ A œ œ n œ œ œ œ œ3 œ œ n œ n œ œ œ œ
? bb b E 7susn œ
3
B bmin7
bb
B min7 Chromaticism B min7
bmin7 3
E bmin7 BEmin7
? œb b 4 œœ
E bmin7 œ œ
œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ n œn œ
? b
b b b b bœ b b 4 œ œ œ œ œ nœ
5
3
? bb b œ œ œ œ œ œb œ
bb E min7
Herwig proceeds to continue his use of tritone substitution, side-slipping, and
chromaticism in the next three measures, finally releasing the tension in measure 45. He
starts out playing a major triad a tritone away from the written chord, then comes back to
it on beats 3 and 4. He establishes the B♭min7 in the next measure, then side-slips up a
half step on beat 3. He then uses an ascending chromatic line to get to the 13th of the
Cmaj7/E on the downbeat of the last measure (Example 4.27).

33
Slide's Routine
E bmin7 B bmin7
œ #œ Aœ œ ^ nœ #œ
? bb 4 nœ nœ. œ bœ œ œ œ nœ Aœ œœ ! n œ n œ^
bbb 4
A
Slide's
Eb
Routine
min7 B bmin7 B min7
C maj7
C/Emaj7/E
œ n œ Aœ œn œ AAœœ An œœ nn œœ An œœ A œ œ œ n œ . n œ . œ œ˙˙
? b? J J
b b b b !b b b b b 44 !
3
Chromaticism
Herwig will also use a technique similar to delayed resolution. In this version he
will establish the sound of a chord in the listener’s ear, and then continue to outline that
chord regardless of the written chords. The difference with delayed resolution is that he
will not eventually resolve, but leave the sound hanging instead. In mm. 59-61 of
“Syeeda’s Song Flute,” Herwig establishes an F6/9 sound, which works over the Gmin7.
He then changes to an F7 and continues outlining that chord even though it directly
clashes with the underlying harmony. The sound is so strong melodically that the listener
can barely notice the clash (Example 4.28).
Syeeda's Song Flute

Gmin A b7 Gmin
œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ
?4 ¿ œ
4
3 3 3 3 3 3 3 3
F6/9 F7
Another example of this technique can be found in mm. 33-38 of the same solo.
In this example Herwig starts out playing E pentatonic over E7. He continues to play E
34
pentatonic over a D7 chord, which gives him the major 7th and the sharp 11th of that
chord. The E7 returns for two measures putting Herwig back in the “correct” chord-scale
(Example 4.29).
Syeeda's Song Flute

E7 D7
# œ œ^ # œ-
œ #œ œ #œ #œ œ #œ œ œ œ œ œ # œ^ œ- œ œ
?4 ‰ J
4
Syeeda's Song Flute
E pentatonic
E7
œ #œ #œ œ œ #œ œ œ œ œ œ œ œ # œ #œ #œ œ
?4 # œE 7 # œ # œ œ # ¿ œ œ œ # œ Œ
4 œ
œ # œ # œ œ œ3 # œ œ œ3 œ œ 3 œ 3 œ 3 œ #œ #œ #œ œ
? # œ #œ # œ œ #¿ œ œ œ # œ Œ
4 3
œ
E pentatonic
3 3 3 3
Although Herwig and Davis are3 primarily
3 “inside” players, both utilize a number
of techniques for playing “outside” as well. These moments occur relatively infrequently
making their impact quite significant when they do occur. Among the techniques they
use are side-slipping, planing, delayed resolution, and tritone substitution.
Rhythmic Content
There are several rhythmic components to a player’s style. Swing feel is a highly
individual aspect to jazz playing, and Herwig and Davis have two different ways of
swinging. Another rhythmic aspect to these players’ styles is the use of double time,
triplet subdivisions. Finally, the use of rhythmic motives in the players’ solos will be
addressed.
35
A player’s swing feel is a very individualized component to their playing. When
the recordings are slowed down and synchronized with a metronome, the second eighth
note of each pair of eighth notes that Herwig and Davis play falls in a different place
relative to the next downbeat. Herwig’s swing eighths are somewhere between straight
eighths and the first and third note of an eighth note triplet. Davis’s swing eighths lie
somewhere between that eighth note triplet and a dotted eighth-sixteenth rhythm. This
difference gives Herwig a more even feel in his eighth note feel, while Davis has a
slightly more lop-sided feel.
Both trombonists use several different types of subdivision, other than the eighth
note subdivision that makes up the bulk of their solos. Herwig is more prone to play
double time passages in his solos, although Davis does use the technique as well. During
his solo on “Slide’s Routine,” Herwig has already played a double time passage by the
end of his first chorus. In mm. 9-10 of his solo, Herwig plays just two measure of double
time before settling back into the original tempo of the tune (Example 4.30).
Slide's Routine
B b maj7/D D b maj7
nœ -
C maj7/E B maj7
n œ œ n œ n œ œ œ œ n œ n œ .n œ œ œ œ œ œ A œ œ n œ œ œ ˙ œ œ œ œ œ œ^
? bb 4 ‰ Œ ‰ ‰ ‰J
bbb 4
3
Double Time Feel Original Tempo
Herwig’s fourth, fifth, and sixth choruses of the same solo are almost entirely
comprised of double time playing. During this song is one of the few times that Davis
plays
b
any extended double time passage as well. The last four measures of his third
B min7
œ^ œ œ œ œ œ. œ œ œ œ œ œ œœœ œ
? bb b ‰ J J Œ !
5
bb
E bmin7 B bmin7
œ^ œ œ œ œ œ. œ œ œ œ œ ˙ œ œ œ.
?
9
J J œ œ œ œ.
36
chorus are in double time, as are the third through sixth measure of his sixth (Example
4.31).
Slide's Routine
Example 4.31. “Slide’s Routine,” mm. 105-108, 135-138
C maj7/E B b maj7/D D b maj7 B maj7

œ œ n œ œ œ n œ œ n œ œn œ œ œ œn œ œ œ œ œ n œ œA œA œ œ œ -
? b b 4 ‰! R Œ Œ A œœ œœœ œ œ œ ‰ Œ ‰ œJ
bbb 4 Slide's Routine
B bmin7 E bmin7
œœœ
B bmin7 œ œ œ œ œ ! œ œn œA œ !# œ œn œn œ A œA œ œA œA œ œ œ œ œ œ œ œ
? b b 4 Ó .
^ ! - # ^
œ œ œ ˙ .! œ œ n œ œ œ . œ n œ^ Œ‰ œ
^
bœ b b 4œ œ œ nœ œ œ œ^ J
? bb b ‰ J ‰ J Œ Œ
5
bb
“You Don’t Know What Love Is” is the only other selection in which both
E bmin7 B bmin7
A œ and
œ Davis œ œ œ time. Then œpassages
œ œuse double œ œ are
œ technically
˙. œ quadruple
œ œ œ time due
? bb J
Herwig in
Œ ‰ ‰ Œ Ó
9
b btob the very slow tempo of this ballad. Herwig comes out of the gate in quadruple time,
3 3
C maj7/E B b maj7/D D b maj7 B maj7
nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ nœ œ
starting his solo with a very high-energy line (Example 4.32).
? bb b Ó " Ó ‰
13
bb
3
3 3 3 3
^
B bmin7
œ œ œ œ bœ œ
C 7b9 œ œ œ- œ^ œ F min7 œœœ œ œ. œ D nb9œr œ
? bb J
‰ Œ œ œ œ œ œ œ .œ ‰œ. . œJ œ n œœ œœCœ 7b9
œ œÓ œ œ
œ œ
17
bbb œ œ œ œ
œ .œ
bb b 44 ! œ œn œœœœ
?E bmin7 œ œA œ n œ
b !‰B. bmin7
3
^ Aœ œ œ œ œ bœ œ œ ~ œ œ 3œ n œ œ3 3
? bb ‰ œœœ œ œ nœ œ œ œœœ
Œ ‰ Ó
21
bbb
Quadruple Time Feel Double Time Feel
3 3
C maj7/E b to weave in andb out of quadruple time throughout his solo.
Herwig proceeds
B maj7/D D maj7 B maj7
n œ nonce
œ œ œagain,
nCœ 7b9 œ one œ œ œ .œ
œ œ œ n (Example
œ œ passage
? b b œ œ œ nœœ œ œA œœ œ n œ œ œ œ œ^ œ œ œœ œœ œ œœ œ œœ œ œ œ œ œ œ
25 F min7
Davis, D b 7 more sparingly, only playing
uses the technique
bbb œ œ . œ œ œ œ œ œ œ 3œ œ œ 3œ œ œ 3
~~~~~
? b 4.33).
. R ! nœ œ3 3 ‰ 3! J
b bb ‰
3
~~~
3
3
œœ œ œ œ A b7
3
G min7b5 C 7b9 F min6
œ œ œ œ œ œ nœ bœ œ œ bœ œ œ
? b b ‰ J ‰. R ‰ œ œ
5
bb
D b7 C 7b9œ œ œ
œ. œ
3 3 3 3
œ
G min7b5
œ œ .œ œ .œ . . œ œ œ œ
œ A œ œ œn œ œ œ œ œœ œœœœ œ œ
? b b 4 ! œ œ .œ œn œœœœœ œ !‰ .
bb 4 37
3 3 3
Double Time Feel Original Tempo
G min7b5 C 7b9 F min6 A b7

œ . œ œ œ œ bœ œ œ œ n œ œ œ œ œ œ #œ nœ nœ nœ bœ nœ bœ
? b b Œ œ.œ œ œ œ nœ.œ œ R! œ R ! Œ!
3
bb
Quadruple Time Feel
Both players frequently play extended figures using a triplet subdivision of the
beat as well. In “It Ain’t Necessarily So,” Herwig plays one idea in a duple subdivision.
He then repeats the idea, this time in a triple subdivision (Example 4.34).
G b7 G b7
œ œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ œ. œ. œ. œ.
F min7 F min7
? bb 3 J ‰ !
bb 4
Duple Figure
So
b b b b
F min7
œ œ
G7 G7
F min7
œ œ
œ œ œ œ œœ œ œœ œ œ œ œ œ œœ œœ œ œœ œ œœ œ œ œœ œ œœ œ œ œ œœ œœœ œœ œœ œ œœ œ œœ œœœ
F min7F min7 GG 7 7
? b b b? b b 3
5
b bb 4
3 3 3 3 3 33 33 33 3 3 3 3 3 3 3 33
Triple Figure
Herwig also uses an extended triplet figure coming out of the bridge of his second
chorus on “Syeeda’s Song Flute” (Example 4.35).

©
Syeeda's Song Flute 38
A b7 Gmin A b7
œ œ œ b œ œ œ œSyeeda's
œ œ œ œ œ œSong
œ œ b œ œFlute
œœœœœœ ^
? 44 œ œ Œ œœœœœœ
3 3 3 3 3 3 3 3 3
3
Gmin A b7
A b7
bœ œ bœ bœ œ œ œ œ œ œ œ œ œ
Gmin
œ œ œ œ b œ œ œ œ œ œ
? 44œ œ œ b œ œ œ œ œ œ b œ œ b œ b œ œ œ œ œ œ œ œ œ œ
?œ œ œ
4
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
There are many more examples where Herwig utilizes the triplet motive in his
solos. Davis uses them less frequently, but still quite often. In measures 30-33 of his
solo on “Que Viva Barry,” Davis plays a brief triplet motive, but then reverts into a duple
feel immediately following the figure (Example 4.36).
Que Viva Barry

D min11 C 7sus
œœ
#œ œ œ œ œ œ œ œ œœœœœœ
?4 ‰Œ ! ‰Œ !
4
3 3 3
Que Viva Barry
Triple Feel
3 3 3
œ œ^ œœ-
^
D min11 ^
D min11
œ^œ^ œ- œ- œ^ œ œ- œb œ . b œ .œ œœ œ œœ œœ œ œ
C 7sus C 7sus
œ œ œ œ # œ # œ bœœ b œœ œœ œ . œrœrœœ
? ? 44 ‰ ‰ . JJ
5
Duple Feel
Davis also uses an extended triplet figure in the opening of his solo on “You
Don’t Know What Love Is” (Example 4.37).

39

A bmaj7 B bmin7 E b7sus

œœœ œ œ œ bœ œ œ œ œ œ œ
? bb 4 œ œ nœ œ n œ œb œ œ œ œ œ œ œR R n œ œ œ
bb 4 ‰ R ! R R !n œRb œR ! R R ! ! R R ! R
3 3 3 3 3 33 3
3 3 3
One interesting technique that Herwig will employ is that of using the triplet to
transition into double time. The result is a series of eighth notes, followed by a series of
eighth note triplets, followed by a series of sixteenth notes (Example 4.38).

Que Viva Barry
D min11 C 7sus
œœœœœœœ œœœœœœœœ œ œ œ œœœœœœ
?4 ‰ œ œœœœœœ œ œ œ
4
Que Viva Barry
Original Tempo
3 3
Triplets
3
œ- œ œ œ œ œ œ œ œ
D min11 C 7sus
D min11
œ œ œ œ œ œ œ œ œ œ œ œ œ C 7sus- œ œ
œ œ œœ œ œ- œœœ œ œ œ œœ œ œ
b œ œ
œ œ
? œ4œ œ œ
J œ œ œ b œ œ œ n œ œ œ œ œ
‰ œ œ œ œ œ œ œ œ b œ œ n œ œ- Œ!œ œ bœ œ œ œ œ‰ œ
? ‰J 4 œ Œ!œ œ œ œ ‰
5
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
Triplets Double Time
Both Herwig and Davis also utilize the technique of developing rhythmic motives,
which adds continuity to their solos. These motives can occur in long or short phrases.
Toward the beginning of his solo on “It Ain’t Necessarily So,” Davis comes out of an
eighth note line ending on the and of two. He proceeds to emphasize the and of two for
the next four measures (Example 4.39).
©
40
F min7
œ
2+ G b7 œ
2+
œ nœ
? bb 3 œ Œ Œ So ‰ J Œ
bb 4 It Ain't Necessarily
œ
b
œ œ œ. œ
F min7 2+ G7 2+ F min7 2+
? 3 J G ‰œ Jœ J ‰F min7 J Œ
bbbb 4 Œ œ ‰
F min7 Œ b7 Œ
œ. œ
? bb b Œ ‰ J Œ Œ ‰ J J ‰ J Œ
3
b In measures 109-111 of the same solo, Davis plays a rhythmic sequence, and
again in mm. 120-122 (Example 4.40).
Example 4.40. “It Ain’t Necessarily So,” mm. 109-111, 120-122.
G b7
nœ œ œ nœ œ bœ bœ œ
G min7 F min7
? bb 3 ˙.
bb 4 ‰ J ‰ J ‰ J ‰ J
Rhythmic Idea
So
Repitition of Idea
œœ œœ #œ nœ œ œ #œ nœ œ œ
F min7 C 7b9
? bb 3 œ œ œ œ # œ n œ œ œ # œ n œ œœ
bb 4
4 4 4 4 4 4
Rhythmic Idea Repitition of Idea Repitition of Idea
In “Slide’s Routine,” Davis plays a figure this is comprised of four sixteenth notes
followed by one sixteenth rest, thereby superimposing five over four, and creating an
interesting rhythmic motive (Example 4.41).
©
41
Slide's Routine
Example 4.41. Slide’s Routine,” mm. 135-136.
B bmin7
œœœ œ œ œ
œ œ ! œ œ nœ Aœ ! #œ œ nœ nœ
? b b 4 Ó. ! !
bbb 4
Davis plays something similar in his solo on “Que Viva Barry, but this time uses
triplets (Example 4.42).
Que Viva Barry

œ^
D min11 C 7sus
œ œ œ œ œ œ‰œ œ œ œœ œ œ œ œ œ œ œ ‰œ œ œ œ œ œ
?4 ‰ ‰ Œ! Œ‰ ‰ ‰ ‰
4
3 3 3 3 3 3 3 3 3 3 3 3
Herwig creates rhythmic motives quite frequently as well. In “Syeeda’s Song
Flute,” he uses a motive anticipating beats one and three that’s lasts for nearly six
measures (Example 4.43).
Syeeda's Song Flute

A b7 G A b7 G
œœ œ œœ œ œ
œ œ œœ œ œœ œ œ œ œ œ bœ
bœ bœ
?4 Œ Œ
4 Syeeda's Song Flute
A b7 G A b7
bœ bœ œ œ œ œ œ œ . b œ œ-
?4 J
4
A b7 G A b7
œ bœ bœ œ œ œ œ œ œ œ œ œ œ. b œ œ- œ œ
? J
5
42
Herwig uses another rhythmic motive to end his solo on the same tune (Example
4.44).
Syeeda's Song Flute

E7
#˙ #œ #œ. # œ- œ- # œ- # œ- œ œ œ
?4 Œ ‰ J ‰ ‰ J
4
Syeeda's Song Flute
Original Idea
F #7
œ- œ-
G
F #7 b œ- . -œ œ-- b œ- œ œ œ G œ ~~~~
œ ~~~~ ~~~~~
bœ. œ œ b œ- œ œ œ
~~~~ ~
?4 ‰ ‰J J ~Œ Ó
?‰ 4 ‰ Œ~ Ó
4
Repitition of Idea
Both trombonists use many rhythmic devices in their improvisations. Both use
the development of rhythmic motives to build interest is their solos. They also make use
of extended triplet motives. Although Herwig utilizes double time more often than
Davis, it can be found in both players’ solos. The two subjects have different swing feels
as well, resulting in a very individualized style that can easily be told apart.
Stylistic Content
The trombone is one of the most expressive instruments in music. Having the
slide, as opposed to valves or keys, allows the player to create many sounds that are
either impossible, or much more difficult on other instruments. Both of the subjects of
this study have many stylistic devices at their disposal, such as glissandi, falls, and
43
fretting. Both Herwig and Davis use many of the same stylistic devices, although each
player does have a tendency to implement certain ones more often than others.
One of the stylistic techniques that both players use often is the fall. There are
two ways to fall off of a note on the trombone. One can either lengthen the slide but keep
the horn resonating on the same partial, referred to as a short fall and noted in this study
as a straight line. The other method involves letting the pitch fall down through the
overtone series, referred to as a long fall and notated as a wavy line in this study. Herwig
uses both types of fall quite frequently. In the following example from “Syeeda’s Song
Flute,” Herwig plays two long falls and one short fall in the course of three measures
(Example 4.45).
Syeeda's Song Flute

A b7 F#
˙ ~~~ œ ˙ œ œ œ œ œ^ œ-
G G
~~~ œ œ
~~~
~~~
?4 ‰ J ‰ J ‰ J ‰ J !
~~~
4
~
Long Fall Long Fall Short Fall
This is quite typical of Herwig. In the five solos selected for this study, he plays
approximately 60 short falls and ten long falls. Davis plays just six short falls and no
long falls. Davis more often uses the slide to gliss up to a target note from an
indeterminate pitch below the target. A variation on this is tonguing the approach note,
which produces a grace note. In “Que Viva Barry,” Davis uses both techniques in the
course of just four measures (Example 4.46).

44
Que Viva Barry

^ œ œ^ œ- ^ œ- œ œ b œ .
D min11 C 7sus
œ œ œ œ œ œ
œ #œ œ bœ œ œ. r œ
?4 ‰ œ
J
4
Gliss Grace Note
These are devices that he uses more often than Herwig, although not to such a
dramatic extent as the falls. Davis plays 17 glisses from below and 3 grace notes while
b œ noœ grace
D min11 C 7sus
œ œand
œ œ below œ œ notes.
œ bœ œ œ bœ œ œ.
œ œ . œ œ #œ œ œ
Herwig plays just five glisses from
? J Ó Fretting,# œ ‰ J through the
‰ or playing against the grain, is the technique ofŒ ascending
5
œ bœ œ
D min11 C 7sus
overtone series while lengthening the slide, or descending through the overtone series
˙.
œ œ œshortening
? œ bwhile œ b œ œ œthe
# œ slide.
œ ! This
œ . isb œa technique
œ œ b œ œ that
œ Œ " !
9
both players use often. Here is an
J
example that was used earlier to demonstrate
D min11 Herwig’s use of the triplet subdivision.
C 7sus
œ œ œ œ œ œ œHerwig is able œtob œ œ
wUsing alternateb œpositions
œ forœ theœ Db œand
œ bEœ♭, 4th˙ and 5th respectively,
? ! ‰ Œ Œ !
13
execute this figure in a fluid and efficient manner (Example 4.47).

3
œ bœ œ
D min11 C 7sus
w œ ˙ œ Nœ œ œ œ
? ‰ Song Flute,” mm. 60-61.‰ Œ "
17
Example 4.47. “Syeeda’s Syeeda's Song Flute
A b7
3 3
b œ œ œ œ œ- œ œ œ œ œ
D min11 CGmin
œ œ œ œ
7sus
œ
? ? 4 œ œ Œ- œ b œ‰ œJ œ œ œ œ œ œ œ œ œ œ b œ œ Ó œ œ œ œ œ " œ œ
21
4
D min11 3 3 3
C
3 3 3 3
œ œ œ œ^ œ œ œ œ
3
œ œ œ œ œ œ ‰œ œ œ œœ œ œ œ œ œ œ œ‰œ œ œ œ œ œ
7sus
Fretting
?‰ ‰ Œ passage
! in hisŒsolo
‰ on “It Ain’t
‰ Necessarily So”‰(Example‰
25
Herwig plays a similar

3 3 3 3 3 3 3 3 3 3 3 3
4.48).
45
F min7 G b7 F min7 G b7
œœ œ œ œœ œ œœ
? bb 3 Œ Œ œœœ œœœœ œœ œ œœœœ œœœ
‰
bb 4
3 3 3 3 3 3 3 3
Fretting
Davis uses the same technique in his solo on the same piece. By playing the G in
4th position, Davis is able to play against the grain in this series of descending lines
(Example 4.49).
œœ œœ #œ nœ œ œ #œ nœ œ œ
C 7b9
? bb 3 œ œ œ œ # œ nœ œ œ # œ nœ œœ
bb 4
4 4 4 4 4 4
Fretting
Davis plays a similar figure in “Syeeda’s Song Flute.” In this case, he starts out
playing four notes that are all in the same position, using only the overtone series to
execute them. He then transitions into fretting from a high C in 3rd position to an F in 1st
(Example 4.50).
©
46
Syeeda's Song Flute

E7
bœ bœ bœ œ œ œ œ œ œ bœ bœ bœ œ œ œ œ
bœ œ bœ œ œ
?4 J J J J J J
4
3 3 3 3 3
Syeeda's Song
All Notes Flute
in 3rd Position
F #7 F #7 G G
b œ b œ œ œb œ œb œœ œœ œœ œœ œ œœ œ œœ b œ b œœ bœœ bœœ œ œ œœ œœ œ œœ œ œœ œ b œ b œ bœœ
? ?4 J J J J J J J J ‰ ‰Ó Ó
3
3
4 3 3 3 3 3
3 3 3 3 3 3
Fretting
Shaking is the process of performing a quick lip trill on a sustained note. This
only happens once in all ten of the selected transcriptions. Davis performs a shake in his
solo on “You Don’t Know What Love Is” (Example 4.51).

Example 4.51. “You Don’t Know What Love Is,” m. 27.
œ. œ~~~~œ
F min7 C 7b9
nœ œ n¿ œ
? bb 4 ! R J ‰ ‰ ! ! R
bb 4
3
Shake
Both trombonists use many stylistic devices in their playing. While both players
use falls, Herwig does so more often. Davis is more prone to glissing up to a note from
below and playing graces notes. Both players use alternate positions and the technique
known as fretting. The use of these stylistic devices, and the frequency with which they
are used, give the subjects their own unique styles, setting them apart from each other,
and other trombonists.

47
Conclusion
Herwig and Davis have very different styles. They use many of the same
techniques in their solos, but with varying degrees of frequency.
Both players use primarily scalar passages or passages in thirds. Both players do
sometimes use larger leaps in their solos. The contours of their solos are typically quite
different. Davis takes his time building to the upper register, while Herwig usually gets
there much sooner in his improvisations. Both players use a good deal of patterns,
especially pentatonic patterns, and both players will sometimes quote pre-existing
melodies. Both players are fond of using the blues in their solos as well.
While both trombonists play within the chord changes most of the time, both do
deviate occasionally, building tension in their solos. Planing and side-slipping are used
in the selected transcriptions by Davis and Herwig respectively. Both players use
chromaticism and chord substitution, especially tritone substitution, occasionally in their
solos as well. Delayed resolution is used by both players, with Herwig sometimes never
resolving.
Herwig and Davis have different swing feels, giving them each a unique sound.
While Herwig plays double time passages in his solos more frequently, Davis does
occasionally use the technique as well. Both players will play extended passages using a
triplet subdivision in their improvisations. Both players build rhythmic motives in their
solos, creating a continuity and rhythmic interest.
Each of the trombonists has their own stylistic preferences, although several
overlap. While both players use falls, Herwig does so much more often. Davis is more
prone to gliss up to notes from below, although Herwig does it as well to a lesser extent.
48
In the selected transcriptions, only Davis utilizes the grace note and the shake. Both
players use alternate positions and against the grain playing to play certain fast passages
with fluidity and precision.
These players sound quite different, and have very different styles. They use a
surprising amount of the same devices in their playing to yield such different styles. It is
the frequency with which they employ these devices that creates such individual sounds.
They make for interesting foils, and studying transcriptions of their play provides
valuable insight into jazz improvisation. Understanding the differences in their playing
and integrating them into one’s own playing can provide an important variety into one’s
own improvisational style.

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Feather, Lorraine and Ira Gitler. The Biographical Encyclopedia of Jazz. New York
N.Y.: Oxford University Press, 1999.
Gendrich, Julie. Bonanza: insights and wisdom from professional jazz trombonists.
Rottenburg: Advance Music, 2011.
Herwig, Conrad. Interview by Michael Davis, October 1, 2014, Bone2pick Series.
Herwig, Conrad. A Jones for Bones Tones. Recorded in 2007, Criss Cross, 1297, CD.
49
50
Herwig, Conrad. Another Kind of Blue: Latin Side of Miles Davis. Recorded in 2004,
Half Note, 4517, CD.
Herwig, Conrad. Land of Shadow. Recorded in 2003, Criss Cross, 1230, CD.
Herwig, Conrad. Latin Side of Herbie Hancock. Recorded in 2010, Half Note, 4544,
CD.
Herwig, Conrad. Latin Side of John Coltrane. Recorded in 1996, Astor Place, 4003, CD.
Herwig, Conrad. Latin Side of Wayne Shorter. Recorded in 2008, Half Note, 4535, CD.
Herwig, Conrad. Osteology. Recorded in 1999, Criss Cross, 1176, CD.
Herwig, Conrad and Brian Lynch. Que Viva Coltrane. Recorded in 2004, Criss Cross,
1254, CD.
Herwig, Conrad and Brian Lynch. Sketches of Spain y Mas. Recorded in 2006, Half
Note, 4530, CD.
Herwig, Conrad. With Every Breath. Recorded in 1987, Ken Music, 008, CD.
Holland, Rick. “Steve Davis Interview,” Jazz Radio 247. Accessed April 8, 2014.
http:// http://www.taichitimes.com/jazzradio247/jr247/content/view/147/1/.
Lambert, David. A Comparison of Three Divergent Jazz Trombone Styles from 1953:
Jack Teagarden, J.J. Johnson, and Frank Rosolino. D.M.A. Essay, University of
Miami, 2005.
Lancaster, Rodney. “Transcription and Analysis of Selected Trombone Solos from J.J.
Johnson’s 1964 Recording Proof Positive.” D.M.A. Essay, University of Miami,
2009.
Liebman, David. “The Complete Transcription Process.” Dave Liebman Official
Website. Accessed April 29, 2014.
www.daveliebman.com/earticles2.php?DOC_INST=13.
Phy, David. “The Musical Language of Trombonist Steve Davis” (D.M.A. Essay,
University of Illinois, 2010.
Pitchford, Timothy. “The Improvisation of Hal Crook.” D.M.A. Essay, University of
Miami, 2005.
Rudnick, Isadore. “A Stylistic Analysis of Melody, Harmony, Rhythm and Sound
Quality in Selected Improvised Solos of Slide Hampton.” D.M.A. Essay,
University of Miami, 199.
APPENDIX A
Interview with Conrad Herwig
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52
What trombonists have influenced you the most?
Well, that’s a multi-faceted question, because, I’ve been playing trombone since I
was eight. The most important for me, early on, when I was growing up in
Hawaii was Trummy Young. A little before Louis Armstrong died, Trummy had
married a Hawaiian girl, and was living in Honolulu, were I grew up. I had two
teachers, Les Benedict and Ira Nepus, who were hugely influential on me. Les
had been in the Air Force, and is a phenomenal virtuoso player, now living in
L.A. Ira Nepus played lead in Woody Herman’s band. They were protégés of
Trummy, so I met Trummy through them, and I was in awe. I often tell the story
that the first time I saw Trummy play was probably my 13th birthday, and I saw
him play with his quartet, and so I thought that all jazz quartets were led by
trombone players, because it was the only one I had ever seen. I just idolized
him. Trummy was just a tremendous influence on me. In fact, he was the reason
that I wanted to be a jazz musician, him and Ira and Les.
Les had a huge collection of recordings, and he would give me all these
recordings. So, the guys who influenced me the most were Carl Fontana, Frank
Rosolino, and the J.J., Curtis, and Slide Hampton, not necessarily in any
order…J.J. was the first one whose records I would just put on, and try to play
along with. But Les had a lot of European recordings, so I was exposed, at a
pretty young age, to Albert Manglesdorff and Eje Thelin, and they were huge
influences on me.
The other guys who I’d say were big influences on me were Raul de Souza and
Edison Maciel from Brazil. I had an album called The Beat of Brazil, by Sergio
Mendez, and I think it’s arguably one of the greatest trombone albums of all
time…so, it was the combination of all these trombone players that really
influenced me. Raul de Souza was a valve trombone player, but I didn’t know he
played valves, so when I’d listen to it, I would just try to figure out what he was
doing. That was what shaped me when I was a younger kid.
Then, when I went to North Texas, when I was 17, Rich Matteson became a huge
influence on me. He was my teacher, and he was the baddest euphonium and tuba
player that we’ve had. He was really good friends with Frank Rosolino, so I was
able to hear Carl and Frank a lot during those years. They had a quintet together
and they came to Dallas.
How about other instrumentalists?
Well, growing up, I really loved the tenor sax. I was really into all the artists on
Blue Note, but certain albums were just huge for me. One of those was The Real
McCoy with Joe Henderson, so then I just tried to get every Joe Henderson record
53
I could. But it wasn’t just Joe Henderson, but a lot of tenor players: Sonny
Rollins, John Coltrane, Dexter, and Don Byas. One of the reasons was that the
tenor sax is pretty much in the same range as the trombone, so a lot of that made a
lot of sense to me. Besides tenor sax, I’m a huge Woody Shaw fan…and Lee
Morgan, Dizzy and Clifford Brown…and Cannonball was also huge for me. I
just tried to soak up everything, and apply it as best as I could.
Can you talk a little bit about technique and how you play the horn? Things like
tonguing and against the grain playing.
Well, I think I’ve always been a fan, because of my teachers when I was younger,
of flexibility, and against the grain playing, and the use of alternate positions. I
was such a huge fan of Frank Rosolino, and Frank was just the epitome of
flexibility. I transcribed a ton of Frank Rosolino, and the stuff he was doing was
just incredibly difficult…and I was transcribing a lot of John Coltrane solos, and
Joe Henderson Solos, and Woody Shaw solos, and to be able to play that stuff just
requires you to use a lot of against the grain playing and doodle tonguing. I
would just start off trying to play them really slowly, and then eventually play
them along with the record and try to keep up. That forces you to develop a
certain kind of technique.
I was blessed to have a teacher at North Texas named Don Jacoby, who is a
master of brass playing. I consider him to be one of the greatest brass gurus of all
time. He taught me about air speed, and how to think about articulating on the
horn, and how to use my air…but a lot of it is just practical. A lot of my best
friends are sax players, and if you want to keep up with the sax players, you just
figure it out as you go along.
What are your thoughts on improvisation? What kinds of things do you think about when
you play, or do you think at all? What kinds of things should students practice?
The way I look at it is that improvising is sonic painting, or painting in sound. So,
our palette is basically based on different colors of sound. People call them
modes, different forms of scales. So, each diatonic mode, whether you’re talking
about ionian, dorian, phrygian, lydian, et cetera, is a different sonic color. When
you hear a minor chord, it’s not always a dorian sound. Aeolian, and phyrgian,
and locrian are very rich sounds, so I tried to apply those scales. I listened to
Herbie Hancock and Wayne Shorter and tried to figure out how they applied those
sounds, and dimished sounds, and different modes of melodic and harmonic
minor…and then I got really fascinated listening to Woody Shaw and working
with pentatonics. So, then I tried to find ways of applying pentatonic, and then
linking them so you’re moving between modes and pentatonics. I tried applying
different pentatonics over different chords.
54
And then, of course, when you transcribe you learn vocabulary, which is a
patchwork of ideas and phrases. People call them licks. I was never a huge fan of
putting licks together. Of course we all do it from when we’re kids, you learn a
lick, then you learn another lick, then you try to learn it in 12 keys and try to
apply it. But, when I listen back to my own playing on recordings, I prefer it
more when I’m more free-associating colors than just stringing licks together.
I’ve always thought of stringing licks together is kind of a band-aid approach to
improvising. When you’re using sound colors, and you’re free-associating
rhythmic patterns, in asymmetrical and symmetrical applications, then it’s really a
creative process.
Can you talk a little bit about the two recording sessions that you did with Steve Davis?
The first session, was early in my run of Criss Cross albums. One of a lot of
people’s favorite bands, and one of my favorite bands was the old J and K band,
with J.J. Johnson and Kai Winding. So, in speaking to Gerry Teekens about what
kind of projects I wanted to do, he mentioned the J and K project. So, I said that
if I were to do it, the only person I’d want to do it with would be Stevie D,
because I admire his playing so much…you’ve got to be on top of your game if
you’re going to be with Art Blakey and the Jazz Messengers. He’s a really
creative guy, and he’s a great trombonist…he just has a very eloquent way of
playing…and, I’ve always admired the fact that he plays the changes so well.
He’s such a polished and consummate musician. So, that’s how the idea came
about. Then, I’ve been really lucky that some of my best friends are some of the
best pianists, bassists, and drummers in the world. Dave Kikoski and I had been
friends for many years, and recorded on different people’s projects. And James
Genus lived in Brooklyn, and I had known James for a long time. I met Tain
through Branford Marsalis, who is a good friend of mine. So, it just worked out
to get Tain and James and Dave together, and you can’t ask for a better rhythm
section than that…those guys are just amazing. So, I put together some originals
and some standards that I really liked…it was a nice synchronicity, because Steve
and I had both been recording for Criss Cross, and we were able to get these great
rhythm section guys in the band.
The second session was almost ten years later, and in the interim we both had
many different things happen in our careers. I had recorded a sextet with Alex
Sepiagin and Seamus Blake, and then I had done a different sextet with Tim
Hagans and Ben Schachter. The difference in the two records is that the first
album was not a trombone tribute per se…I’m not really a huge fan of making
trombone records. What we really wanted to do was just make a creative project,
and it just so happens that we play trombone. I think the first record was pretty
successful, as far as selling, because Gerry asked us to do another one.
55
In the mean time I had decided that if I were to do another one, it would be all
originals, and I would write each tune for a different trombone player that I
considered one of my heroes. I had a blues for Frank Rosolino, one for Raul de
Souza, I wrote a minor blues entitled “Slide’s Routine.” There was a ballad for
Albert Manglesdorff that I actually wrote about 20 minutes after I found out that
Albert had passed. I had a tongue-in-cheek rhythm changes called “Jay Dot.” I
had a little medium bounce tune I called “Dubois’ Delight,” because Curtis
Fuller’s middle name was Dubois. And, I was up in Nova Scotia, and it really
reminded me of Scandinavia, and I wrote this tune, and I thought of Eje when I
wrote it, so I called it “Eje’s Dream.” The other tune was written for Barry
Rogers…I’ve spent half of my life playing with Eddie Palmieri, and Barry Rogers
pretty much wrote the trombone book for that gig. So the first one was just Stevie
D and I getting together with Dave and James and Tain to just do our thing. The
second album was more of a trombone tribute.
One thing about the second album is that it was with Orrin Evans, Boris Kozlov,
and Donald Edwards. We play together all the time…in fact, Steve subs in there
a lot, and I’m more of a regular member of the Mingus band. I’ve probably
played 1000 gigs with those guys…I don’t know for sure, but well over 500…and
we’ve been playing Mingus’s music, which is really hard music.
Steve and I play really differently. We play in a different register. If Steve

wanted to play in the upper register he could, but he’s just comfortable in his
zone, and I’m more comfortable in mine. To me, it’s pretty easy to tell us apart.
What do you like about his playing and why did you choose to record with him?
Steve is incredibly consistent. He has such a great understanding of harmony. He

really, really knows the changes. I think he knows the changes better than I do.
His playing reminds me of the great qualities of J.J. and Curtis. I used to think of
J.J. as a diamond cutter. He was just able to take the diamond and just polish the
facets of that diamond, and Stevie is able to take a tune, and just totally smoke it.
He just always hits a home run in the changes. I learned from listening to him,
about how to use the guide tone line, and color tones…his solos are very, very
well crafted.
The other thing is that he’s really spontaneous. He can do it on a dime. He can
shift and turn, and if we’re trading he always has a great complementary phrase.
I’ve always admired that…and, there no set of changes that Steve can’t play. I’ve
heard him play tunes like 26-2 by John Coltrane, and just smoke it. There’s no
one I respect more than Stevie D.
56
Any final thoughts for students who might read this interview and want to be successful
jazz musicians?
In jazz there are really only two things: there’s the truth, and there’s a lie. You’re
better off just playing your own personal truth. You can’t be somebody you’re
not. When I’m in the moment, I tell myself, “just go for it and be your self.”
That’s advice I’ve gotten from great players. Clarke Terry used to give me that
advice. If I try to be something I’m not, then it sounds too controlled, or
unemotional. I’m better off just cutting loose and being myself.
Something that Dave Liebman told me is that you should record with the guys
that you’ve been playing with…like with Orrin, Boris and Donald. I’ve played so
much with them, and there’s a feeling of comfort and trust, so you can take
chances, and feed off of each other. It creates a creative spiral. It’s an upward
spiral. Trust your rhythm section, and listen to them and react to them…and
choose them wisely.
APPENDIX B
Interview with Steve Davis
57
58
What trombonists have influenced you the most?
J.J. Johnson, Curtis Fuller, Slide Hampton. I would say those three for sure…
and many other great players. In recent years, although you might not hear it so
obviously in my playing, I’ve been listening to Jack Teagarden a lot more. Of
course, when I was coming up, Steve Turre was a newer voice, a very exciting
voice… of course Frank Rosolino…and Carl Fontana had a big influence on me
as well. But, primarily it has been J.J., and Curtis Fuller, and Slide Hampton.
How about other instrumentalists?
My gosh, I mean, so many. All of the masters that most of us listen to. Miles
Davis had a big influence on me…Freddie Hubbard…Jackie McLean. I spent so
much time around Jackie, and his concept and language was such an influence on
me. Chet Baker and Lee Morgan I listen to a lot. John Coltrane, I mean you
could just go on and on. And then there’s the non-horn players. I love piano trio.
Hank Jones and Cedar Walton in particular had a huge influence on me…McCoy
Tyner…singers as well. Nat King Cole…Sarah Vaughan. It’s hard to say; there
have just been so many influences over the years. Hopefully it just sort of distills
through you, and eventually you’re just playing, and it just comes out as your
voice.
Can you talk a little bit about technique and how you play the horn? Things like
tonguing and against the grain playing.
I try to single tongue as much as possible. But, before that, I really just try to
keep the air moving…and get the slide where it needs to be, as efficiently and
quickly as possible, so that you’re kind of eliminating the kind of cliché
trombone-y, or lazy slide type of sound. That’s how J.J. and Curtis Fuller, their
precision and articulation, really influenced me. There are times when you listen
to those guys and you could swear they were playing valves. And they’re playing
language that was not really associated with the trombone. That’s something,
early on, that I was always interested in…and I think I share that with Conrad. He
plays things that are not typical of the trombone.
I definitely use alternate positions. If you want to play certain melodic passages,
if you want to execute them with any kind of velocity, you’re going to need to
address that. You have to play out there, and learn how to make that timbre sound
pleasant and not just nasal. I’ve spent some time trying to match intonation and
timbre with, say, D in first and D in fourth, or B♭ in first and B♭ in fifth. I have to
use alternate positions to try to keep things as efficient as possible…it’s very
important.
59
What are your thoughts on improvisation? What kinds of things do you think about when
you play, or do you think at all? What kinds of things should students practice?
First and foremost, I try to play as if I’m singing, so that everything has a lyrical
feeling to it. That’s my goal anyway, so that the trombone is almost incidental.
It’s almost like air in your hands, and you’re just trying to sing, through your
horn.
Certainly a huge component to improvisation, group improvisation, is listening to

the rhythm section, and playing off of them. I try to keep my radar on at all times,
and almost become a fourth member of the rhythm section. I really try to
integrate my approach with what they’re doing, so I’m not just “running my stuff”
over the top of the rhythm section. Sometimes it’s going to sound that way
because you’re the horn player and they’re the rhythm section, but I try to avoid
that as much as I can…and I just try to stay as lyrical as I can, even when I’m
playing music that requires me to deal with sophisticated harmonic passages. I
always try to “find a song” in the chords, and pull melodies out of the chord
changes.
Students should listen to as much music as possible. If you’re a young alto

player, of course you’re going to listen to Bird, and Johnny Hodges, and Jackie
McLean, and Cannonball Adderall, Sonny Stitt, Lou Donaldson, and Phil Woods
on up through Gary Bartz and Kenny Garrett and these great players today. But,
you need to listen to everybody…and really listen. I remember the great Mulgrew
Miller, God bless him, came to do a master class at the McLean Institute at the
Hartt School at the University of Hartford, where I’ve been teaching for a long
time. He came just about six months before he passed away, and gave a fantastic
master class. He said something very profound. He said, “If you guys remember
one thing about my visit today please remember this: Show me a great player,
and I’ll show you a great listener.” I just thought that was a homerun for our
students because we all get caught up in what we’re trying to play, and what
we’re shedding, and we forget to really listen…and not just listen during the act
of playing, but really listen to music, everywhere, all the time…and not just jazz.
So, I would encourage students to do more of that first and foremost…and then,
really try to sing through their instruments. I would urge non-pianists to really
develop their piano, so that they can hear, and see, and play the harmonies, and
really get connected to chords that way. And also learn something about the bass,
and the drums…really become a fan of the rhythm section so that they’re really
connected to the total language of the music. Another thing I would encourage
students to do is to go back through the history. I think a lot of times, in our field,
it’s important to be innovative, and fresh, and you hear these words all the time.
Mozart was an innovator, Charlie Parker was an innovator, John Coltrane was an
innovator, but there’s not too many of those. I think you should become a really
good musician first and foremost, and if along the way, people start to call you an
innovator, then good for you, that’s great. But I think there’s a little too much
instant gratification going on in this day and age and everybody’s trying to play
60
on the outer edge of the music right from jump street without really knowing the
guts of the music, or being able to really play a compelling solo without “taking it
out.” I think it’s important to build your foundational language, some call it
bebop, but whatever you want to call it, it’s the tradition. Look at all the great
players who are out there, still doing it. It’s a long line that we’re all in, and you
can’t really cut in the line, you’ve got to get in line, and that’s how you really
become part of the tradition.
For trombone players specifically, I would say, do your long tones, softly,
everyday. I did long tones, finally, when I was about nineteen. I thought I was a
natural and I was very undisciplined…I wouldn’t say I was lazy, but I just wanted
to get to the good stuff right away, and play along with records, and jam with my
buddies and all that. Then Jackie McLean and Steve Turre helped me and
influenced me. Steve Turre showed me one time and I’ve been doing them ever
since, and they’ve really help me to focus my sound. And then after that, work on
flexibility, and articulation, and all of that stuff.
Can you talk a little bit about the two recording sessions that you did with Conrad
Herwig?
The first one, Osteology, was during the summer of ’98 I believe, and I was very
flattered, and honored, that Conrad would ask me to make a record with him. He
was the leader on the date, and he organized everything…he organized the rhythm
section, which was fantastic, and all the music, the arrangements, everything. As
is always the case, everyone was pretty busy. We never had a full band rehearsal.
Conrad and I got together one afternoon for about an hour and a half, ran through
a few parts, I don’t think we got through all the music…so, it was really on the
fly. We all kind of read it down, got it together, and let it rip. We only did one or
two takes of each tune so it was very fresh. It was really great music, and I was
just trying to keep up.
Conrad had a great rhythm section: Jeff “Tain” Watts, Dave Kikoski, and James
Genus…guys that he’d been playing with for some time. I was definitely the
youngin’ on the session, a little bit less experienced than those guys. It was
challenging material, very exciting music, and Conrad just absolutely played his
butt of. It definitely was a very exciting experience for me…and I thought the
music came out really well actually. I was worried that I wasn’t familiar enough
with the music, and it was difficult, and I thought that maybe I wasn’t playing up
to the level. Now that I listen back though, I think it really came out great. I’m
very proud of that record.
I guess the first one did very well. I think it was, believe it or not, ten years later.
Conrad and I had recorded extensively for Criss Cross as leaders and as sidemen
by that point. So Conrad just said, “Let’s do it again.” He got another great
rhythm section, I think it was the Mingus Band’s rhythm section at the time:
Orrin Evans, Boris Kozlov, and Donald Edwards. Conrad wrote all the
music…on that one I think he paid tribute to many of the trombone heroes like
61
Frank Rosolino, Slide, Curtis, and others. The music on that record was fantastic
too. It was just round two of what we had done ten years before, and we really
had a great time playing together. I’ve learned an awful lot playing next to
Conrad over the years in different situations. You better eat your Wheaties if
you’re going to be playing next to Conrad. Conrad is dead serious, man, he’s
such a serious musician, and a brilliant musician, and he just plays on such a high
level. It’s very inspiring.
What do you like about his playing and why did you choose to record with him?
First of all, I dig his concept in terms of music repertoire, and his language is very
hip…he’s a real modernist. He’s not afraid to delve into the Woody Shaw, Joe
Henderson, and McCoy Tyner kind of harmonic ideas and concepts. That’s very
inspiring. He plays things that aren’t really addressed on the trombone, which is
very exciting to me…and then there’s just his physical ability on the trombone
that’s so phenomenal. I mean, he does things that I couldn’t do in my wildest
dreams. And his style is very different from mine. He kind of brings out the best
in me, and I think we’re quite good foils…and maybe in my own way, I push him
too. I just try to play the best Stevie D I can play, and try not to outplay myself.
But, Conrad has definitely influenced me in a lot of ways. I’m very proud of
those dates we did together.
Any final thoughts for students who might read this interview and want to be successful
jazz musicians?
I would encourage them to dream, because that’s what I did when I was a young
kid growing up, and listening to my father’s records. I came to the University of
Hartford when I was eighteen, and I met Jackie McLean, and I met Curtis Fuller.
I saw J.J. Johnson, and all of the great heroes like Art Blakey. And then I wound
up getting to play with Art Blakey at a young age. Your dream can come true,
and I would encourage young players to go for it, because we need them. I want
to have some new cats to play with in the coming years. In thirty or forty years
I’m going to want to play with great new musicians. We all need to keep this
music alive, and well, and vital, and it is, and I think it will be. But we need as
many fresh, exciting voices as possible playing jazz music.
APPENDIX C
Ten Selected Transcriptions
62
63
Syeeda's Song Flute

A b7 A b7
^ ^ œ œ
Swing Œ=200 G G
Herwig œ œ œ œ œ œœ œ
John Coltrane
¿ ¿ œ ¿ œ œ œ bœ œ œ œ bœ œ œ œ œ
?4 J Ó ‰ J
1:33 ~~~~~ œœ
4
A b7 A b7
3
bœ bœ œ nœ ¿
G G
œ œ b œ œ b œ b œ œ œ œ^ œ^ ˙
? œ œ œ œ bœ bœ nœ œ Œ
5
^
œ œ œ œ œ bœ
A b7 A b7
œ -
G G
bœ. œ œ œ^ bœ œ œ œ œ œ œ
? Œ ‰ J ‰ J ‰ Œ
9
G A b7 G A b7
œ. œ œ
œ œ œ b œ œ œ œ œ œ œ œ œ œ^ œ œ œ œ œ b œ b œ n œ œ b œ œ b œ-
?‰ ‰J œ
13
A b7 A b7
3
œ- œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Gmin Gmin
œ œ
œ œ œ œ œ
~~~~~~
? Œ Ó ‰
17
A b7 A b7
œ
Gmin Gmin
œ œ œ œ- œ œ œ - - œ œ œ- œ œ œ .
œ œ œœ œ œ
? J œ œ œ J J J J Œ ‰ J
21
J J
^
3
N œ œ^ œ œ b œ b œ . n œ ¿ œ
A b7 A b7
. . . - b œ œ b œ. œ. œ. œ- œ^
G G
œ œ œ œ œ œ
? ‰ J ‰ J ‰
25
˙~ œ A˙ b7 œ œ œ œ œ œ^ œ-
F#
~~~ œ
G G
~~~
~~~
~~~~
? ‰ J ‰ J ‰ J ‰ J !
29
~~~
64
Syeeda's Song Flute
# œ œ^ # œ-
2 E7 D7
œ # œ œ # œ # œ œ # œ œ œ œ œ œ # œ^ œ- œ œ œ # œ # œ œ œ # œ œ œ œ œ œ
?‰ J #œ
33
F #7
3 3 3 3
. # œ œ- œ ¿ b œ b œ œ œ ¿
E7
#œ #œ #œ œ #œ œ
? #œ œ #œ œ #¿ œ œ œ œ œ #œ Œ ‰
37
^
3
A b7 A b7
œ
G
œ œ. œ
G
b œ œ b œ- œ ¿ œ . œ-
3
œ œ. œ bœ œ œ œ
? Œ ‰ J J ‰
41
œœ
G A b7 G A b7
œ œ œœœ œ œ œ œ œ bœ œ œ œ bœ œ ˙ bœ bœ
? œ œ œ œ #œ œ Œ Œ
45
3 3
A b7 b
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ Aœ 7b œ b œ œ œ œ
G G
?
49
G A b7 G A b7
œ œ œ œ œ œ œ . b œ œ- œ œ œ œ œ œ œ #œ
#œ œ #œ œ
? J ‰ Œ Œ ‰ J J ‰
53
œ œ- œ
3
œ^
Gmin A b7
Gmin A b7
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ
? ‰J Œ ‰J œ ¿
57
3 3 3 3
Gmin A b7 Gmin A b7
œ œ œ bœ œ œ œ œ œ œ œ ^ œ œ œ œ œ b œ œ œ œ œ œ bœ œ bœ bœ œ œ œ œ œ œ œ œ œ
? œ œ Œ œœœœœ œ
61
3 3 3 3 3 3 3 3 3 3 3 3 3
3
65
Syeeda's Song Flute

A b7 A b7
œœ œ bœ œ œ. œ- œ b œ œ œ œ œ b œ œ œ
G G 3
? œ œ
Œ Ó Œ Œ ‰ J ‰
65
A b7 F#
œ b œ œ œ œ œ œ- œ œ œ œ œ # œ. œ.
G G
œ œ œ œ œ #œ œ œ œ
? ‰ Œ Ó ‰
69
#œ. #œ œ. #œ #œ ˙ #œ
E7 D7
œ #œ # œ^ ˙
? J # œ œ #œ œ œ-
J Œ ‰ J
73
F #7
# œ . # œ- œ- # œ- # œ- œ œ œ- œ- œ- b œ- œ
E7
œ bœ. œ œ
?‰ ‰ J ‰ ‰ J
77
A b7 A b7
œ ~~~~
G G
~~~~ œ œ œ^ œ œ œ œ œ^ ˙
œ ˙
3:01 Davis
~
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81
A b7 A b7
œ
G G
˙ .. œœ ˙ œ œœœ ˙. œ bœ
? Ó Œ ‰ J
85
A b7 A b7
bœ œ bœ œ
G G
# œ œ œ bœ œ œ. œ
œ œ
?‰ Ó ‰ J œ œ #œ œ œ œ œ œ œ œ
89
G A b7 G A b7
œ œ œ œ bœ bœ œ œ œ
? œ. œ #œ Œ ‰ J b œ^ ‰ J œ˙ ˙ Ó
J
93
66
Syeeda's Song Flute

A b7 A b7
œ ¿ œ- œ œ ˙
4 Gmin Gmin
œ œ œ
?Ó # œ œ œ œ œ
Œ ‰ J Ó Œ ‰ J
97
Gmin A b7 Gmin A b7
˙. œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙ bœ œ œ ^
? ‰ ‰ J œ
101
G A b7 G A b7
œ b œ œ œ œœœœœœ œœœœœ œ
? Œ ‰ œ bœ nœ œ œ œœœœœœœ
105
J
G A b7 G F#
? ˙. œ œ ! ! !
109
bœ b¿ bœ œ œ œ ^
E7 D7
bœ bœ bœ bœ bœ bœ bœ
bœ œ œ œ bœ bœ
bœ b¿ nœ œ
?Ó ‰ Œ
113
F #7
bœbœbœ œ œ œ œ œ œ bœbœbœ œ œ œ œ bœbœ œ œ œ œ œ œ œ œ œ œbœbœ œ œ œ œ œ œ œ œ
E7
bœ œ bœ œ œ
? J J J J JJ J J J J
117
3 3 3 3 3 3 3 3 3 3 3
A b7 A b7
œ bœ bœ
bœ œ. bœ œ
G G
œ œ œ œ^ œ- œ œ
? œ œ.
‰ Ó ‰J J Œ ‰ J J Œ ‰ J
121
G A b7 G A b7
œ. œ œ œ. œ œ -
? J Œ ‰ J J Œ ‰ J œ œ œ œ œ œ œ Ó Œ ‰ œJ
125
67
Syeeda's Song Flute

A b7 A b7
œ œ œ œ œ œ b œ œ b œ œ œ œ œ œ œ œ œ b œ œ b œ b œ œ œ b œ^
G G 5
œ # œ œ œ
? bœ nœ
129
G A b7 G A b7
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ. œ œ œ
? J Œ !
133
Gmin A b7 Gmin A b7
œ œ œ œ œ œ œ œ œ œ œ œ ¿ œ . œ œ- œ ˙
?‰ œ œ J Ó
137
Gmin A b7 Gmin A b7
œ œ œ œ œ œ œ œ œ œ œ- œ œ œ œ
œœœœ œ œ œ.
?‰ Œ Œ ‰ ‰
141
A b7 A b7
bœ
G G
˙. œ œ œ œ œ ˙. œ œ
? Ó ‰ Ó ‰ J Œ
145
A b7 F#
b œ œ b œ œ œ- b œ œ
G G
œ œ œ œ œ œ #œ
?Œ ‰ J Ó Ó Ó ‰
149
E7 D7
˙ # œ # œ œ- œ œ #œ œ œ ^
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! Ó Œ ‰ J
153
F #7
œ bœ bœ œ œ
œ bœ bœ
E7
#œ #œ œ œ # œ # œ œ œ^ œ œ œ
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157
68
Swing Œ=218
G b7 G b7
George Gershwin
˙. ˙. ˙. ˙ œ œ
Davis
F min7 F min7
? bb 3
1:16
bb 4
G b7 G b7
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5
bb
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? bb œ ˙ n˙. œ œ ‰ œ ‰ œ nœ bœ œ œ Œ
9
bb J J
D b7 G b7 œ
nœ œ
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13
bb
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17
bb
G b7 G b7
œ œ bœ
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21
bb
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25
b
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29
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69
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33
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3
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37
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41
bb
4
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45
bb
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49
b
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53
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57
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61
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65
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70
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69
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73
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77
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85
b
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89
bb
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93
b
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97
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101
b
71
4
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105
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109
bb
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113
bb
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117
bb
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121
b
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125
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129
b
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133
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137
b
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72
5
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˙. 139
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141
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? bb
281 4:52
bb
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3
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285
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289
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293
b
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? bb Œ Œ ‰ J Œ ‰ J
297
bb
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301
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305
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309
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73
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F min7 G b7
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313
b
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‰
317
bb
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321
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325
bb
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329
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333
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337
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341
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345
b
74
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349
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353
bb
3
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357
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361
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365
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369
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373
b
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377
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381
b
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75
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385
b
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389
bb
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393
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397
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401
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417
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76
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77

Swing Œ=64 Gene de Paul
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3 3
F min7
œ œ œ œ œC 7b9 D b9
b œ œ œ œ œ œ œ œ œ œ œ
? bb œ œ
œ œ ‰. R œ œ œ
Ó
25
bb
3 3
D b7
œ. n ¿ œ~~~œ œ œ œ œ œ œ œ œ œ bœ œ œ
F min7 C 7b9
nœ œ
? bb b œœ
! R J ‰ ‰ !!R R!RR!R J
27
b
3 3 3 3 3
A b7
œ œ œ #œ nœ nœ nœ bœ nœ bœ
œ
? bb Œ œ.œ œ. œ œ œ bœ œ œ œ œ nœ.œ
œ œ n œ œ œ œ
R! œ R !Œ!
29
bb
D b7
nœ.
C 7b9
œ œ. œ nœ nœ nœ œ bœ œ œ œ. œ
? bb b Œ
31
b
79

3
F min6 F min7
œ . œ œœ œ œ
œ
? bb b œ œ œ nœ ! œ
! œ. bœ œ ® ˙ Ó
32
b
80
Slide's Routine
Swing Œ=124 Conrad Herwig
B bmin7
Herwig
œ. œ ˙ œœœœœœ ˙ œ œ nœ œ bœ
1:53
œ
? bb 4 ! J
bbb 4
E bmin7 B bmin7
3 3
œ. œ œ œ œ œ. œ œ œ ˙ œ œ nœ
? bb J ‰ Ó Ó
5
bbb
3
B bmaj7/D D bmaj7
nœ -
nœ œ nœ nœ œ œ œ nœ nœ.nœ œ œ œ œ œ Aœ nœ œ œ
C maj7/E B maj7
œ
? bb b ‰
œ ˙ œ œ œ œ œ^
Œ ‰ ‰ ‰J
9
bb
3
B bmin7
œ^ œ œ œ œ œ. œ œ œ œ œ œ
? bb œœœ œ
‰ J J Œ !
13
bbb
E bmin7 B bmin7
œ^ œ œ œœ œ. œ œ œ œ œ ˙ œ œ œ.
? bb œ œ œ œ.
‰J J Œ ‰ J
17
bbb
C maj7/E B bmaj7/D
- œ nœ œ
D bmaj7
œœœœ- Aœ
B maj7
n œ n œ œ A œ œ
? b b ‰ n œ n œ n œ n œ n œ^ œœ
Œ nœ nœ Œ ‰
21
bbb
B bmin7. . . . .
œ œ œ. œ œ œ œ. œ n œ b œ œ œ- n œ A œ
3
œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ-
? bb b ‰
25
nœ œ
bb
E bmin7 . B bmin7
œ
œ œ œ. œ œ œ œ œ œ œ œ nœ
œ œ œ œ œ œ œn œœ œ œ œ œn œ œ œ n œ œ œ b œ œ œ œ œ œ
? bb Œ Œ‰ "R
29
bbb
3 3 3 3
81
Slide's Routine
2 C maj7/E B bmaj7/D D bmaj7 B maj7
nœ n˙ œ n œ- ^
? bb nœ nœ n œ œ Aœ œ œ Aœ œ œ œ œœ œ
n œ œ œ œ œ Aœ
‰ Œ " œ œ œ nœ œ
33
bbb
3
B bmin7
#œ nœ #œ
œœ œ œ œ œ œ œ œ œ œ œ œ œ #œ #œ
? bb b Œ " R " R ‰. R
37
bb
#œ
nœ #œ #œ nœ œ œ œ œ bœ nœ bœ nœ bœ nœ Nœ œ Aœ œ nœ œ œ œ œ œ œ nœ œ œ œ
? bb
39
nœ nœ
bbb
3
E bmin7
œ œ œ œ œ œ œ œ œ œ œ œ nœ œ #œ
nœ nœ. œ bœ œ œ œ nœ Aœ
? bb œ
41
bbb
B bmin7
Aœ œ œ ^ nœ #œ nœ ^ œ nœ Aœ Aœ nœ nœ Aœ œ
? bb b œ " nœ "
43
bb
C maj7/E B bmaj7/D
nœ. œ ˙ nœ nœ œ œ œ œ
œ nœ œ
? bb b J "
45
bb
D bmaj7 B maj7
œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? bb ‰ J
47
bbb
3 3 3 3 3 3 3 3 3 3 3
B bmin7
œ œœœ œœœ œœœ œœœ œœœ œœ œœœœ œœœœ œœœœ œœœœ
œœœ œœœ œ œœœœ œœœ œœœ
? bb J J J J
49
bbb
5 5 5 5 3 3
82
Slide's Routine
Aœ œœœœ œ œ œ. œ ˙
œœœœœœœœ
3
~
? bb J J J
~~~~
Œ
51
bbb
œ. œ œ
E bmin7
œ- œ^ œ œ
B bmin7
3 3 3 3
œ œ A œ^ n ˙ nœ nœ œ œ
? bb b J Œ ‰ J Œ " Œ
53
bb
C maj7/E B bmaj7/D
œ nœ nœ œ œ nœ œ œ œ œ œ œ œ œ Aœ œ nœ œ œ nœ œ œ œ œ œ œ œœ
? bb "
57
n œ œ œ œ
bbb
3
D bmaj7 B maj7
œœ
A œ
œœ
œ
œœ
œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ
? bb œ œ œ œ œ œ "
59
bbb
B bmin7
œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ
? bb b " œ œ œ œ œœœ
Ó " œ œ œ œ.œ œ Œ "
61
bb
œ œ œ œ œ- œ œ œ^ œ^ œ^ œ œ œ n œ
E bmin7 B bmin7
œ œ ˙
? bb b ‰ J Œ Œ
65
bb
B bmaj7/D D bmaj7
- n œr œ
C maj7/E B maj7
œ n œ œ œ œ œ -
œ A œ œ œ
n œ œ œ n œ A œ œ n œ- - Aœ Aœ œ
? bb nœ œ ‰ n œ A œ œ œJ J J J J J
69
bbb
B bmin7
w ˙
4:10
œ œ w
Davis œ- œ œ
? bb Œ ‰ Ó
73
bbb
3
83
Slide's Routine
4
E bmin7 B bmin7
˙. œ
? bb ‰ J œJ œ . ˙ w œ œœœÓ
77
bbb
3
B bmaj7/D D bmaj7
nœ œ œ œ œ œ œ œ Aœ œ œ. Aœ œ œ nœ Aœ œ
C maj7/E B maj7
? bb b ‰ n
‰J œ ‰ œ ‰ œ Œ
81
bb J
B bmin7
œ Aœ œ œ œ œ nœ œ œ nœ œ œ œ nœ œ œ bœ
? bb Ó ‰ ‰J ‰ Œ Ó ‰
85
bbb
3 3 3
E bmin7 œ B bmin7
œœœœœœ œ
? b b œ . œJ ˙ œ
Œ ‰JŒ ‰ œ nœ œ œ nœ œ œ œ Ó
89
bbb
3 3 3 3
3
B bmaj7/D D bmaj7
nœ œ œ nœ œ nœ œ nœ œ Aœ œ Aœ œ
C maj7/E B maj7
? bb b ‰ n œ œ n œ. œ n œ œ œ Aœ œ œ œ œ
œ
Œ Œ
93
bb J
3 3
œœ œ œ œ ˙
B bmin7
œ- œ œ œœ œ œœœ
? bb b Ó Ó ‰‰ Œ Œ
97
bb
3 3 3
E bmin7 b
œ. œ nœ œ œ œ œ nœ œ œ œ œ œ
B min7
? bb œ œ
Œ Ó. Œ Ó Œ ‰ ‰
101
bbb
3 3 3 3
B bmaj7/D D bmaj7
œ œ nœ œ œ nœ œ nœ œ nœ œ œ œ nœ œ œ œ œ nœ œAœAœ œ œ -
C maj7/E B maj7
? b b ‰" R
105
Œ Œ A œ œ œ œ œ œ œ œ ‰ Œ ‰ œJ
bbb
84
Slide's Routine
B bmin7
œ œ ˙. œ œ nœ
5
œ^ œ œ^ œ n œ- # œ^ œ œ œ œ^
? bb ‰ J ‰ J Œ Œ
109
bbb
E bmin7 B bmin7
Aœ œ œ œ œœœ nœ œ œ œ
˙. œœœ œ
? bb b J
Œ ‰ ‰ Œ Ó
113
bb
B bmaj7/D D bmaj7
3 3
C maj7/E B maj7
nœ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ nœ œ
? bb Ó ! Ó ‰
117
bbb
3 3 3 3 3
B bmin7
œ^ œ - œ^ œ œ œ bœ œ œ
œœ œ œ œ œ œ r
? bb ‰JŒ ‰ J nœ œ œ Ó
nœ
121
bbb
E bmin7 B bmin7
3
^ Aœ œ œ œ œ bœ œ œ ~ œ œ œ nœ œ
? bb b ‰ œœœ œ œ nœ œ œ œœœ
Œ ‰ Ó
125
bb
3 3
C maj7/E B bmaj7/D D bmaj7 B maj7
nœ nœ œ œ nœnœ Aœ œ ^ œ œœ œ œœ œ œ œ œ œ œ nœ œ œ œ
? bb b n œ œ œ œ œ œ œ œœ œœ
129
bb
3 3 3 3 3
B bmin7
3
œœœ
3 3
œA œ œ œn œ œ œ œ œ n œ œ œb œ œ œn œ œ œb œ^ œ œ œ œ œ " œ œn œA œ "# œ œn œ
? bb Œ nœ
Ó. " "
133
bbb
3 3 3 3 3 3
E bmin7 B bmin7
Aœ Aœ œ œ œ œ œ nœ œ
? bb Aœ Aœ œ œ œ œ. œ ^ ^ œ œœœœ œ
nœ Œ ‰ œ œ ‰ J Œ Œ ‰
137
bbb J 3
85
Slide's Routine
C maj7/E B bmaj7/D D bmaj7 B maj7
œ œ. bœ œ œ
6
nœ nœ œ œ œ œ œ œ œ œ.
? bb œ œ œ œ. œ œ œ œ J œœ
Œ Œ œ ‰J Œ
141
bbb
3 3 3
86
Que Viva Barry

Latin Œ=170 Conrad Herwig
D min11 C 7sus
œ˙ ˙. œ œ- œ œ œ- œ^
Davis
1:11
œ. œ
?4 Œ ‰ J ‰J Œ Ó JÓ
4
D min11 C 7sus
œ œ œ œ œ œ œ œ œ œœ œ˙ ˙
? Ó. ‰ œJ Ó
6
œ^
D min11 C 7sus
œ œ ˙ œ œ œ œ^
? œ. œ œ
Œ Œ Œ Ó.
10
J
3
D min11 C 7sus
bœ nœ bœ œ bœ œ œ œ œ œ
? œ j bœ. œ œ.
Œ Ó Œ Ó ‰ ‰œ J
14
D min11 C 7sus
œ œ b œ- œ œ-
?˙ œ œ. b œ-
J Ó. ‰ ‰ J Œ Ó.
18
3
D min11 C 7sus
œ œ œ œ œ œ œ œ œ œ œ œ
? œ^ œ ^ œ œ œ œ ˙
Œ ‰ J œ Œ ‰ J œ
22
D min11 C 7sus
œ #œ œ ˙ ˙ œ bœ ˙.
?‰ Œ ‰ Œ !
26
3
D min11 C 7sus
œœ
# œ œœœœœœœ œœœœœœ
? ‰ Œ ! ‰Œ !
30
3 3 3 3 3 3
87
Que Viva Barry

^ œ œ^ œ- ^ œ- œ œ b œ .
2 D min11
œ œ œ œ œ œ
C 7sus
œ #œ œ bœ œ œ.
?
r œ
‰ J
œ
34
œ œ bœ œ œ œ œ œ
D min11 C 7sus
œ œ œ bœ œ œ bœ œ œ.
? œJ œ . Ó # œ œ œ #œ
‰ Œ ‰ J
38
œ bœ œ
D min11 C 7sus
˙.
? œ bœ œ œ œ bœ œ œ #œ œ " œ. bœ œ œ bœ œ œ Œ ! "
42
J
œ bœ œ œ bœ œ
œ œ bœ œ bœ ˙
D min11 C 7sus
w œ œœœœ œ
? " ‰ Œ Œ "
46
œ bœ œ ˙ Nœ œ œ œ
D min11 C 7sus
w œ œ
? ‰ ‰ Œ !
50
3 3
b œ œ œ œ œ- œ œ œ œ œ
D min11 C 7sus
œ œ œ œ œ
? Œ- ‰ J Ó !
54
D min11 C 7sus
^
œ œ œ œ œ œ œ œ ‰œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ‰œ œ œ œ œ œ œ œ
?‰ ‰ Œ " Œ‰ ‰ ‰ ‰
58
3 3 3 3 3 3 3 3 3 3 3 3
œ. œ œ œ œ^ œ^ œ . œ
D min11 C 7sus
œ œ œ ˙
?Œ "J Œ J ‰ b œJ Œ œ^ œ^
62
3
88
Que Viva Barry

D min11 C 7sus 3
œ ˙. w ˙ œ
?œ
2:42 Herwig
Ó. ‰ J
66
œ^ œ œ ˙. œ œ^ œ œ œ œ œ œ œ œ- œ-
D min11 C 7sus
œ
? Œ Œ ‰ J ‰ J
70
^ œ œ œ. œ œ .
œ
D min11 C 7sus
œ œ œ œœœœœ œ œ
?Œ ‰ J J œ. œ œ œ œ œ
Œ Œ
74
D min11 C 7sus
- -
- œ œ œ œ œ ˙. œ œ œ œ œ ˙
?œ ‰ œJ œ Ó
78
D min11 C 7sus
œœœœœœœ œœœœœœœœ œ œ œ œœœœœœ
?‰
82
œ œ
œ œœœœ œ œ œ
3 3 3
- œ œœ
D min11 C 7sus
œ œ œ œ œ œ œ œ œ œ œœœœœ
œ œ œ œ œ œ œ œ œ bœ nœ - œ b œ œ œ œ
? ‰J œ œ œ Œ"œ œ œ œ œ ‰
86
œ.
3 3 3 3 3 3 3 3
œ ~.~~ œ
~~ œ b œ
D min11
œ œœœœœ œ œ. œ œ œ œ œ œ
~~~
? "" R "J
~~
~~~
Œ
~~~
90
~~
3 3
œ œ œ
C 7sus
œ œ œ #œ œ œ œ nœ œ œ œ
?Œ ‰ J Œ
92
89
Que Viva Barry

4 D min11
œ œ. œ
C 7sus
- -
œ œ œ œ œ œ œ- œ œœœ œœœ œ œœœ œœœ œœœœ
?Œ Œ Œ ‰
94
D min11 C 7sus
œ œœ œ œ ˙.
œ œ œ œ œ œ œ œ œ œ œ œ œ
? ‰ J Œ ‰ J ‰ J Œ
98
œ œ œ. œ œ œ œ ˙. œ œ œ. œ b œ œ œ ˙.
D min11 C 7sus
? Œ Œ
102
œ œ œ. œ œ œ œ ˙. œ œ œ. œ b œ œ œ- ^
œ œ œ œ
D min11 C 7sus
? Œ Œ ‰ J
106
^
œ œ-
D min11
œ œ œ œ œ^ ^
C 7sus
œ b œ- œ œ œ œ b œ^
? ‰ J ‰ J Œ ‰ J ‰ J ‰ J ‰ J Œ ‰ J ‰ J
110
^
œ œ-
D min11
œ œ œ œ œ^
C 7sus
œ^ b œ- œ œ œ œ # œ^
? ‰ J ‰ J Œ ‰ J ‰ J ‰ J ‰ J Œ ‰ J ‰ J
114
˙
D min11
œ œ œ Nœ œ œ bœ
C 7sus
œ œ œ œ œ œ œ œ œ- œ œ
? ‰ J‰ J ‰ JŒ Œ ‰
118
3 3
D min11 C 7sus
˙ œ ˙ œ œ œ œ bœ œ œ œ œ ˙. bœ
? Œ ‰ J Œ ‰ J ‰ J
122
90
Que Viva Barry

D min11 5
?w w
126
APPENDIX D
Consent Forms
91
92
INFORMED)CONSENT)FORM)
)
A)Comparison)of)the)Improvisational)Styles)
of)Trombonists)Conrad)Herwig)and)Steve)Davis)
)
Andrew'Hamilton'
'
'
INFORMED)CONSENT)FORM'
PURPOSE:'
' The'goal'of'this'research'is'to'gain'insight'into'the'influences,'experiences,'
and'expertise'of'the'subjects,'Conrad'Herwig'and'Steve'Davis.'
'
' Responses'to'the'interview'are'intended'to'provide'insight'into'the'subjects’'
thoughts'on'jazz'music,'improvisation,'their'influences,'and'their'experiences'with'
each'other'and'other'jazz'musicians.''The'responses'will'be'sent'back'to'the'
participants'for'approval.'
'
PROCEDURE:'
' The'informed'consent'form'and'will'be'sent'in'an'email'(recruitment'letter)'
to'the'participants.'
'
' Each'participant'acknowledges'through'his/her'email'response'that'he/she'
has'read'and'understood'the'informed'consent'form'and'further'agrees'to'its'terms.''
The'responses'will'be'used'for'research'and'will'be'included'in'the'investigator’s'
doctoral'essay.''Through'responding'to'the'questionnaire'and'editing'it'as'the'
participant'wishes'it'to'appear'in'the'document,'each'participant'also'agrees'that'
his/her'responses'will'be'published'in'the'essay.'
'
RISKS:'
' No'foreseeable'risks'or'discomfort'are'anticipated'for'you'by'participating.'
Because'this'research'is'being'conducted'by'phone,'security'of'your'correspondence'
cannot'be'guaranteed.'
'
BENEFITS:'
' Although'no'benefits'can'be'promised'to'you'by'participating'in'this'study,'
the'information'gathered'and'distributed'later'is'intended'to'help'enlighten'readers'
of'the'doctoral'essay.'
'
ALTERNATIVES:'
' You'have'the'alternative'to'not'participate'in'this'study.''You'may'stop'
participating'any'time'or'you'can'skip'any'question'you'do'not'want'to'answer.''
There'is'no'penalty'incurred'should'you'choose'to'halt'participation.'
'
'
'
93
94
INFORMED)CONSENT)FORM)
)
A)Comparison)of)the)Improvisational)Styles)
of)Trombonists)Conrad)Herwig)and)Steve)Davis)
)
Andrew'Hamilton'
'
'
INFORMED)CONSENT)FORM'
PURPOSE:'
' The'goal'of'this'research'is'to'gain'insight'into'the'influences,'experiences,'
and'expertise'of'the'subjects,'Conrad'Herwig'and'Steve'Davis.'
'
' Responses'to'the'interview'are'intended'to'provide'insight'into'the'subjects’'
thoughts'on'jazz'music,'improvisation,'their'influences,'and'their'experiences'with'
each'other'and'other'jazz'musicians.''The'responses'will'be'sent'back'to'the'
participants'for'approval.'
'
PROCEDURE:'
' The'informed'consent'form'and'will'be'sent'in'an'email'(recruitment'letter)'
to'the'participants.'
'
' Each'participant'acknowledges'through'his/her'email'response'that'he/she'
has'read'and'understood'the'informed'consent'form'and'further'agrees'to'its'terms.''
The'responses'will'be'used'for'research'and'will'be'included'in'the'investigator’s'
doctoral'essay.''Through'responding'to'the'questionnaire'and'editing'it'as'the'
participant'wishes'it'to'appear'in'the'document,'each'participant'also'agrees'that'
his/her'responses'will'be'published'in'the'essay.'
'
RISKS:'
' No'foreseeable'risks'or'discomfort'are'anticipated'for'you'by'participating.'
Because'this'research'is'being'conducted'by'phone,'security'of'your'correspondence'
cannot'be'guaranteed.'
'
BENEFITS:'
' Although'no'benefits'can'be'promised'to'you'by'participating'in'this'study,'
the'information'gathered'and'distributed'later'is'intended'to'help'enlighten'readers'
of'the'doctoral'essay.'
'
ALTERNATIVES:'
' You'have'the'alternative'to'not'participate'in'this'study.''You'may'stop'
participating'any'time'or'you'can'skip'any'question'you'do'not'want'to'answer.''
There'is'no'penalty'incurred'should'you'choose'to'halt'participation.'
'
'
'
95
COSTS:
No costs are anticipated for you to participate in this study.
PAYMENT TO PARTICIPATE:
No monetary payment will be awarded for participation in this study.
- - -- ------ --- --- ---
CONFIDENTIALITY:
The participants' names and responses will be made public in the doctoral
essaY. which is projected to be submitted to the faculty of the University of Miami in
May of 2015 and will be available for educational purposes.
RIGHT TO WITH ORAW:

Your participation is voluntary you have the right to withdraw from the
study. ·
OTHER PERTINENT INFORMATION:

The researcher will answer any questions you may have regarding the study
and will give you a copy of the consent form after you have signed it. If you have any
questions about the study please contact Andrew Hamilton, at 904-556-9664, or
or Professor Rachel Lebon, at 305-284-6118 or
RLLeb.Q.D..@aol.com. If you have any questions about you rights as a research
participant, please contact the Human Subjects Research Office (HSRO) at 305-243-
3195.
Please print a copy of this consent documentation for your records.
-·' i
Q/? Q·- "'

--- __::;___ __[_C
Date
Interviewer's Signature

A Comparison of The Improvisational Styles of Trombonists Conrad Herwig and Steve Davis

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A Comparison of The Improvisational Styles of Trombonists Conrad Herwig and Steve Davis

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University of Miami

A Comparison of the Improvisational Styles of

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A COMPARISON OF THE IMPROVISATIONAL STYLES OF TROMBONISTS

Submitted to the Faculty

Coral Gables, Florida

A doctoral essay submitted in partial fulfillment of

A COMPARISON OF THE IMPROVISATIONAL STYLES OF TROMBONISTS

A Comparison of the Improvisational Styles of (May 2015)

Abstract of a doctoral essay at the University of Miami.

Doctoral essay supervised by Professor Rachel Lebon.

LIST OF EXAMPLES ........................................................................................................ v!

CHAPTER 1 INTRODUCTION ........................................................................................ 1!

CHAPTER 2 LITERATURE REVIEW ............................................................................. 9!

CHAPTER 3 METHOD ................................................................................................... 14!

CHAPTER 4 ANALYSIS OF SOLOS ............................................................................. 17!

BIBLIOGRAPHY ............................................................................................................. 49!

APPENDIX A ................................................................................................................... 51!

APPENDIX B ................................................................................................................... 57!

APPENDIX C ................................................................................................................... 62!

4.1 “Syeeda’s Song Flute,” mm. 19-23.............................................................................18

4.2 “Syeeda’s Song Flute,” mm. 41-44.............................................................................18

4.3 “Syeeda’s Song Flute,” mm. 105-108.........................................................................18

4.4 “Que Viva Barry,” mm. 19-23 ....................................................................................19

4.5 “Que Viva Barry,” mm. 77-90 ....................................................................................19

4.6 “It Ain’t Necessarily So,” mm 21-26 ..........................................................................21

4.7 “It Ain’t Necessarily So,” mm.46-47, 58-59, 114-115 ...............................................22

4.8 “It Ain’t Necessarily So,” mm. 105-106 .....................................................................22

4.9 “Syeeda’s Song Flute,” mm. 82-83.............................................................................23

4.10 “Slide’s Routine,” mm. 135-136...............................................................................23

4.11 “It Ain’t Necessarily So,” mm 317-320 ....................................................................23

4.12 “Slide’s Routine,” mm. 13-14, 17-18 .......................................................................24

4.13 “Que Viva Barry,” mm. 82-87 ..................................................................................24

4.14 “Slide’s Routine,” mm. 61-64...................................................................................25

4.15 “You Don’t Know What Love Is,” mm. 8, 15 ..........................................................25

4.17 “Slide’s Routine,” mm. 121-123...............................................................................26

4.18 “Que Viva Barry,” mm. 16-18 ..................................................................................26

4.19 “It Ain’t Necessarily So,” mm. 281-284, 299-302 ...................................................27

4.21 “Que Viva Barry,” mm. 1-9 ......................................................................................28

4.23 “It Ain’t Necessarily So,” mm. 75-80 .......................................................................30

4.24 “Que Viva Barry,” mm. 36-38 ..................................................................................30

4.25 “It Ain’t Necessarily So,” mm. 31-33 .......................................................................31

4.26 “Slide’s Routine,” mm. 38-41...................................................................................32

4.27 “Slide’s Routine,” mm. 42-45...................................................................................33

4.28 “Syeeda’s Song Flute,” mm. 59-61...........................................................................33

4.29 “Syeeda’s Song Flute,” mm. 33-38...........................................................................34

4.30 “Slide’s Routine,” mm. 9-12.....................................................................................35

4.31 “Slide’s Routine,” mm. 105-108, 135-138 ...............................................................36

4.34 “It Ain’t Necessarily So,” mm. 365-372 ...................................................................37

4.35 “Syeeda’s Song Flute,” mm. 60-64...........................................................................38

4.36 “Que Viva Barry,” mm. 30-33 ..................................................................................38

4.38 “Que Viva Barry,” mm. 82-89 ..................................................................................39

4.39 “It Ain’t Necessarily So,” mm. 15-19 .......................................................................40

4.40 “It Ain’t Necessarily So,” mm. 109-111, 120-122 ...................................................40

4.41 “Slide’s Routine,” mm. 135-136...............................................................................41

4.42. “Que Viva Barry,” mm. 58-61 ............................................................................... 41

4.43 “Syeeda’s Song Flute,” mm. 48-54...........................................................................41

4.44 “Syeeda’s Song Flute,” mm. 76-81...........................................................................42

4.45 “Syeeda’s Song Flute,” mm. 29-32...........................................................................43

4.46 “Que Viva Barry,” mm. 34-37 ..................................................................................44

4.48 “It Ain’t Necessarily So,” mm. 383-386 ...................................................................45

4.49 “It Ain’t Necessarily So,” mm. 120-122 ...................................................................45

4.50 “Syeeda’s Song Flute,” mm. 117-121.......................................................................46