[Dixielandjazz] Obbligato v Solo

[dingle at baldwin-net.com]

Bill Gunter wrote:

> Hello all,
>
> Anton Crouch sent us several paragraphs (cited from Grove) concerning 
> the nature of the obbligato in music. This is all general information 
> and doesn't shed much light on the original question.
>
> The original question??? Oh yes, I remember now - it was over a 
> specific piece of music.
>
> I believe Russ Guarino posted something about the "clarinet solo" in 
> the compositon "High Society."
>
> My response was that it was probably more correctly referred to as an 
> "obbligato" rather than a "solo." (Notice my use of the terms 
> "probably" and "more correctly" used as qualifiers - I dislike 
> absolutes).
>
> Here are my reasons:
>
> 1. A "solo" means "alone" -- since the clarinet part in question is 
> played above the main theme of the song it is obviously not a "solo."
>
> 2. It has become a standard part in the composition to the point where 
> if it were omitted from a performance its omission would be noted by 
> others -- hence one is virtually 'obligated' to play the damn thing!
>
> 3. I don't believe the meaning of the term "obbligato" has degenerated 
> to the point where it means anything you play in counterpoint to the 
> melody (i.e. - the clarinet noodling around during an ensemble 
> chorus). -- If a word means anything you want it to mean then it no 
> longer means anything.
>
> However, over and above these points. I do believe that Russ Guarino 
> does have a valid point. The clarinet part in "High Society" is often 
> played by itself (without the accompanying principal theme) during a 
> performance in which case it does indeed become a "solo." But - it has 
> become such a standard part of the tune that it virtually stands alone 
> in its importance! Nevertheless, it is still an "obbligato."
>
> There are other terms we use (counterpoint, quotation, descant, etc.) 
> that refer to additional musical lines being added to the main thrust 
> of the melody which aren't as rigidly set as the obbligato. The 
> performer can play pretty much any musical line in a descant as long 
> as it fits. Whereas the obbligato must be played in its essential form .
>
> Consider the piccolo part in "Stars and Stripes Forever" -- If the 
> piccoloist were to play some other sequence of notes during that 
> famous section of the composition he'd be run outa town on a rail!
>
> If the piccolo part is played all by itself, without the accompanying 
> principal theme it would definitely be a solo but it would also 
> definitly be recognized as belonging to that particular Sousa 
> composition.
>
> To further emphasize the "obbligato" nature of the part, if you were 
> to play it as a "quotation" in some other composition, the savvy 
> listener would immediately recognize it as an essential part of the 
> original composition.
>
> Respectfully submitted,
>
> Bill "sorta picky" Gunter
> jazzboard at hotmail.com
>
>
>
>
>
>
>
>> From: Anton Crouch <anton.crouch at optusnet.com.au>
>> To: DJML <dixielandjazz at ml.islandnet.com>
>> Subject: [Dixielandjazz] Obbligato v Solo
>> Date: Tue, 03 May 2005 11:00:30 +1000
>>
>> Hello all
>>
>> Bill G does a good line in 'picky, picky ... ' and more strength to 
>> his arm
>> for it.
>>
>> BUT... "obbligato" is more than just necessary - it's a particular 
>> type of
>> "necessary".
>>
>> Yes, confusing. The brief article in New Grove 2 says, in part:
>>
>> 'An adjective or noun referring to an essential instrumental part. 
>> The term
>> is often used for a part ranking in importance just below the principal
>> melody and not to be omitted. Obbligato is the opposite of Ad libitum 
>> when
>> the latter qualifies the mention of a part in a title ..... Used in
>> connection with a keyboard part in the 18th century, obbligato 
>> designated a
>> fully written-out part instead of a figured bass. Sometimes obbligato 
>> means
>> simply independent ...
>>
>> In music for voice with instruments, ‘obbligato’ refers to a prominent
>> instrumental part in an aria or other number. The archetype of the
>> obbligato part is the instrumental solo which, with a basso continuo,
>> constitutes the accompaniment of vast numbers of late Baroque arias.'
>>
>> In the above, the mention of "voice" is useful for discussion in a jazz
>> context.
>>
>> I'd offer the following:
>>
>> The trumpet accompaniment in a classic vocal blues performance is 
>> clearly
>> "obbligato" trumpet. The trumpet part, when the singer is silent, is
>> ambiguous - I think it can best be described as "solo".
>>
>> Russ G's use of "obligato" as '... the general background movement of 
>> the
>> clarinet during full ensemble or backing up other instruments' is 
>> entirely
>> reasonable.
>>
>> The famous clarinet part in "High Society" may now be necessary for
>> performance purposes, but it is not necessary musically - it is a "solo"
>>
>> I'm not being picky :-)
>> Anton
>>
>>
>>
>>
>>
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>
>
>
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Back to the source: In this post's early origins, the Piccou clarinet 
solo/obbligato on High Society was used as example. In other sources 
that I cannot now quote but recall reading, it appears that the part 
Piccou played may well have been written in the March on which this tune 
is based. As is the piccolo obilgatto in Sousa's Stars and Stripes, it 
may well have served the same end -- a written part, not a solo. I leave 
it for more serious researchers to delve farther into this question, but 
since the part fits so well against the melody of High Society, and 
enough clarinetists of that time and since seem to have learned it, I 
suspect that this originally may have been a written obligatto. That 
Monsieur Piccou's example has long been the model, I will accept either 
theory and just enjoy it -- even when the player may have been Eddie 
Miller, Matty Matlock, Artie Lyons, and other fine clarientists who 
played this marvelous counter melody to the main melody. (I was once on 
hand to hear MAtty onclarinet and Eddie Miller on Tenor play it and 
there was never a diference in notes other than the octave span between 
horns. One should remember that it was Eddie Miller that played a 
piccou-ish counter melody against South Rampart Street Parade on the 
orginal Crosby recording, though many over the years credited to Matty 
or Fazz.)
Long live their memories with thanks for their doing so.
Don