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.H 30()(JOOï ') 092 SJ
Universiteit Vrystaat
NOJEIL DJE§MO·ND §TOCCKTON
(bom 1930)
ARRANGER~ COMPOSER
AND PEDAGOGUE
Johannes Joubert Potgieter
(Student number: 1992046 522)
Presented towards fulfillment of the requirements for the degree
MAGK§TER MU§ICAE
in the
Department of Music
Faculty of the Humanities
University of the Orange Free State
Promoter: Dr. G.J. L. Heunis
BLOEMFONTEIN
December 2000
Cf{de! oaesmónd UfJ!óck!ón
(1330-)
I hereby declare that this is my own work and that this dissertation has
not been presented at any time before for any qualifications.
Johannes Joubert Potgieter
Bloemfontein, South Africa
December 2000
coho is. fUJij~(1; ~~, ~~fUl;
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Universiteit von die ,
Oranje-Vrystaat I
BLnt:"~FOHTf.IN '"
6 - FEB 2002 Ji
UOVS SASOL BIBLIOTE~K
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cg~wJucJv~~·~~in;
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music, and. in; tltab is.ds.~ cuut~. "
LEO TOLSTOY ( 1828- ~9~0)
I wish to thank the following people for their contributions towards this study.
Dr. Loftus Heunis, my promoter, mentor and friend, for his valuable input, effort
and good advice.
Noel Stockton, for his wholehearted and consistent co-operation in spite of a very
busy schedule, without which this study would not have been possible at a". Also
for supplying me with a" the necessary research material and for proof-reading of
the biggest part of the study.
My parents who have been a constant source of motivation and inspiration
through all my life. Thank you for believing in me.
Marzé Goldlberg (Eddie Goldberg Recording Studios) for the re-recording of the
sound documentation onto compact disc on such short notice.
Karen Valentine for the design and typing on the CD inlays.
Randall Whittaker for the writing of the CD's for final submission.
My heavenly Father, who has guided me not only In my studies, but also
throughout my whole life.
FOUNDAT~ONSOF THE STUDY
1.1 Aims of the study 2
1.2 Necessity of the study 2
1.3 Research problem 3
1.4 Research methodology 4
1.5 Particulars of the preliminary study.. 4
1.6 Limitations of the study 5
1.7 Additional supportive sound and visual documentation 5
1.8 Value of the research 6
CHAIPI[E[R 2: BIOGRAPHY
2.1 Introduction 7
2.2 Childhood and education 7
2.3 Professional piano playing and recording 12
2.4 South African Airforce Military Band, Pretoria 18
2.5 Prisons Band, Kroonstad 22
2.6 Lecturer, Orchestra player and band leader, Bloemfontein 27
Photo series (unnumbered pages)
NOEL STOCKTON AS PEDAGOGUE
3.1 Introduction 35
3.2 Arranging 37
3.2.1 Problems regarding the teaching of arranging 38
3.2.2 Suggestions regarding teaching of arranging 39
3.2.3 Stockton's own experience 41
3.3 Orchestration 42
3.3.1 Problems regarding the teaching of orchestration................................ 42
3.3.2 Suggestions regarding the teaching of orchestration............................ 43
3.4 Improvisation 45
3.4.1 Problems regarding the teaching of improvisation 45
3.4.2 Suggestions regarding the teaching of improvisation 46
3.5 Jazz music history 48
3.5.1 Problems regarding the teaching of jazz music history 48
3.5.2 Suggestions regarding the teaching of jazz music history 49
3.6 The teaching of practical jazz with regard to piano '" '" 50
3.6.1 Problems regarding the teaching of practical jazz '" '" .50
3.6.2 Suggestions regarding the teaching of practical jazz 51
3.7 The teaching of Jazz Ensemble 53
3.8 The teaching of Music Technology 53
3.9 The creation of a Jazz Course on tertiary level. 54
3.9.1 On creating a degree course in Jazz Music 55
3.9.2 An outline plan of a four year course 55
3.9.3 Suggestions on the course compilation 58
3.10 Jazz tuition and style 60
CHAPTER 4: DISCUSSIONS ON WORKS
4.1 Introduction 62
4.2 Concerto for Stage Band 63
4.3 Adagio for Strings 77
4.4 Mangaung Suite for Symphonic Wind Band 81
4.5 Conversation Piece 85
4.6 Sol y Sombra Suite 93
4.7 South African Folksong Rhapsody No.2 100
4.8 Peer Gynt in Jeans 103
4.9 The Unforgettable Nat 'King' Cole... 106
CONClUS~ON AND RECOMMENDAT~ON
5.1 Conclusion 107
5.2 Recommendation , 109
Bibliography 110
Discography 122
Appendixes A, B & C 123
Abstract
CIHlArPTlEfR ~:
IFOUNDA T~ONS OIF TIHlIESTUDY
1.1 AIMS OF THE STUDY
The aim of the study is to highlight the contribution of Noel Desmond Stockton (1930)
to music, with specific reference to Jazz. The unveiling of these contributions will be
undertaken from four different viewpoints.
Firstly he will be biographically identified and his contribution to the South African
music scene chronologically documented.
Secondly the study will highlight his approach regarding the teaching of Jazz.
Thirdly the study will focus on his contributions as performing artist and
arranger/composer, and
fourthly there will be a description of his five serious compositions as well as a
selection of his arrangements by means of a systematical profile-analysis procedure.
1.2 NECESSITY OF THE STUDY
As an introduction it must be mentioned that from time to time musicians appear on
the music scene who capture the imagination of their peers. In reference to this
2
people like Joyce Mary-Ann Loots (Heyns, 1980), Peter Klatzow (Van Zyl, 1982),
Jacques Pierre Malan (Krugel, 1980) and Gabriel Gideon Cilliers (Erasmus, 1999)
can be mentioned and their contributions to the South African music scene have
been subsequently documented. These musicians have made notable contributions
to either Western Art Music, Church music or Folk music. These genres, regarding
the South African music history writing, have been identified as areas of research
priorities up to until the last three decades of the previous century. Jazz, an
internationally acknowledged twentieth-century phenomenon has in this regard been
greatly ignored. It is through the dedication of musicians like Noel Stockton and
others that Jazz tuition with accompanied music technology and research gained its
rightful place in the academy. Jazz as -acadernic study terrain is currently an
acknowledged field of study at the University of the Orange Free State (through Noel
Stockton's initiative).
The research is furthermore deemed necessary not only because of the fact that it
. will become part of the musicology biographical literature, but also because it will
take affirmative action towards filling the gap regarding South African Jazz tuition and
research.
1.3 RESEARCH PROBLEM
The research problem has been identified as worthy of research. The conclusion is
that there is no formal, classified record on Noel Stockton's development and his
contributions as performing artist, arranger/composer and pedagogue. This absence
can have the result that his notable influence and contribution to especially the Free
State music scene can go unnoticed.
3
1.4 RESEARCH METHODOLOGY
The study reasons from the viewpoint that the subject is actual, and the research
methodology will comply with the principles of scientific validity. The research
comprises four phases of which the most important methods are:
.:. Structured interviews with Noel Stockton, colleagues and students, literature
study of relevant articles and critics (dating from 1956 to the present), as well as
Internet searches in the Naspers archives for the biographical data collection
(Phase 1).
•:. A review of Stockton's observations around Jazz tuition (Phase 2) .
•:. A descriptive analytical procedure (profile analysis) to discuss the selection of
arrangements (taken from a total of more than 500) as well as the five serious
compositions (Phase 3). Discussed and controlled by Stockton himself .
•:. A Classification of Stockton's arrangements and compositions, backed by
electronic sound documentation (Phase 4).
1.5 PARTICULARS OF THE PRELIMINARY STUDY
Until a few years ago Jazz has been an unknown factor on the music pedagogical
terrain. After the appointment of Stockton at the Department of Music, UOFS, Jazz
gradually gained more ground in the mentioned institution. This interest in Jazz has
furthermore been backed by regular recitals by staff and students at the department.
4
Subsequently during this study tentative reconnaissance research was undertaken
which started with informal discussions and later structured interviews with students,
friends, colleagues and Stockton himself. For this study all the possibilities of data
capturing have been utilized, ranging from critiques, concert programmes and
articles. As the data collection grew, the importance and actuality of the subject
became worthy of formal research. Work on the study started in March 1999 and the
research methodology was activated.
1.6 LIMITATIONS OF THE STUDY
The limitations of this research project are mainly threefold.
In the first instance Stockton wrote a vast amount of arrangements during his life
ranging from elementary to professional. For the purpose of this study it would be
ideal to supply all of these arrangements, but due to the large quantity of scores
involved it falls outside the boundaries of this research report.
In the second instance it must be admitted that the compact disc recordings (see 1.7)
which support the documentation are not of a very high standard, the reason for this
being purely the financial implications involved. Furthermore the recordings were
made from previous recitals of these works which also influenced the quality of the
sound documentation.
1.7 ADDITIONAL SUPPORTIVE SOUND AND VISUAL DOCUMENTATION
This research report is supported by additional sound documentation.
5
The discs were cut by Eddie Goldberg Recording Studios and the artists involved are
indicated on the CD inlays. The first CD deals with Stockton's serious compositions
and the second with a selection of arrangements I own compositions of light music.
It can be mentioned here that these recordings have special historical value in that
they are the only recordings of the five original compositions by Stockton. In a
didactical sense they can be used meaningfully in the teaching of composition. In the
last instance they are evidential of the fact that Stockton is not only an arranger and
pedagogue par excellence, but also a classical and light music composer in own
right. At the end of the biography (chapter 2) a selection of relevant photographs is
included on unnumbered pages.
1.8 VALUE OF THE RESEARCH
The value of the study is situated in the fact that the study provides, on a classified
basis, knowledge and insight on the pedagogical and artistic contributions of Noel
Stockton on the South African music scene. Especially with reference to Jazz tuition,
this study opens a new awareness regarding skills, techniques and methods with
which the upcoming Jazz educator can approach his task. Apart from the fact that
the study identifies Stockton as person, artist and pedagogue, it also reveals the
influences that the society and education systems have on the creations of the artist.
The study will be especially valuable to students studying: Jazz, Music Technology,
South African Music History, Music Education, Music Sociology, Systematic Music
Study and Composition.
6
2.1 INTRODUCTION
This chapter provides a biography on Noel Stockton with special reference to his:
.:. childhood and education
.:. professional piano playing and recording
.:. involvement with the South African Airforce Military Band, Pretoria
.:. involvement with the Prisons Band, Kroonstad
.:. contributions as lecturer, orchestra player and band leader, Bloemfontein, and
.:. a series of relevant photographs.
2.2 CHILDHOOD AND EDUCATION
Noel Desmond Stockton was born on 16 December 1930 in Benoni, in the area then
known as the East Rand. His grandmother on his father's side was a descendant of
the 1820 Settlers who arrived from England on board the Belle Alliance. The family
settled in the area of Bathurst in the Eastern Cape. Stockton's paternal grandmother
traveled by buckwagon (a big, solid wagon with strong beams for heavy loads) to the
7
Transvaal in the late nineteenth century. Noel's paternal grandfather was Thomas
Stockton, a blacksmith employed on the gold mines. He was born in 1867 in
Cheshire, England and died in Witfield, in the Boksburg/Germiston area. Stockton's
mother was born under the family name of Morgan. His grandfather on his mother's
side, Tom Morgan being Welsh, was quite fond of singing and sang in the Cardiff
Male Voice Choir in Wales. He was brought to South Africa by what was then known
as the British South African Railways, which later became the South African Railways
& Harbours, now known as Transnet. At various times, from 1903 onwards, he was
stationmaster at respectively the Klerksdorp and Springs railway stations. (The
Springs and Brakpan Advertiser, Friday, 10 August 1973). He retired at Jeffrey's Bay
at a time when there was little development there. Tom Morgan kept up his singing
career until late in his life. His repertoire consisting of especially war-related poems
set to music, such as The Menin Gate as well as English romantic songs, such as
The Cornish Floral Dance, etc. as well as many others which were popular at the
time.
Stockton's mother, Violet Mara "Peggy" (born in England under the maiden name of
Morgan), was the one who encouraged musical entertainment at home. Although
having had little tuition she played the piano and was musically literate. Peggy
inherited her father's musical abilities. She played the piano in the early days of
Springs at the town's first silent bioscope. the Lyric in Geduld. (The Springs and
Brakpan Advertiser, Friday, 10 August 1973). His father, William James Stockton,
was born in Knights, in the district of Germiston and later became a carpenter
employed on the gold mines in the East Rand area. Although he was very fond of
music and encouraged musical pursuits, he had no specific music training. Peggy
Stockton died in 1997 in Pretoria.
8
Stockton was born during a difficult time in South Africa when the effects of the
depression were being felt by all. Jobs were hard to find and this was a serious a
problem for Stockton's father, as it was for many artisans. Before Stockton's birth,
his parents lived in Johannesburg and it is said that his father traveled from
Johannesburg to Brakpan on foot searching for work. Eventually he was employed
as an underground carpenter on the gold mines. During an underground collapse in
1933 he was trapped and very badly injured. He spent nine months in hospital, after
which he spent almost five months on crutches and only after fourteen months went
back to work. During counseling in later years it surfaced that this incident had a
major psychological influence on Stockton's life and created feelings of insecurity for
many years. After his serious accident William James returned to the mines, but
being physically too weak to continue as a tradesman, he was transferred to the
engineering department as a draftsman.
The family was not well-off and raising two children in the years that followed the
depression was not an easy task. Stockton's sister, Natalie, was born in 1936. She
became a nurse, and later made such a contribution to the nursing profession that
she held the position director of family planning, and later of preventive medicine.
Natalie was the Chair of the East Rand branch of the Nurses' Trust Fund and on the
organizing committee of the concert held in aid of the Trust Fund in 1973. For this
event Noel Stockton conducted the Prison Service's Band in Springs. (The Springs
and Brakpan Advertiser, Friday, 10 August, 1973). She was also involved in the
Prevention of AIDS programme in South Africa, and up to the present some of her
innovative ideas are still employed in the prevention of this disease. Natalie died
suddenly in 1999.
9
As a child, Stockton remembers hearing a lot of light music at home. Public concerts
in those days were not a common phenomenon. People provided their own
entertainment by hosting house concerts. This was commonplace in the Stockton
household. His mother played the piano and everyone would sing. Thus, interest in.
music was established at a very young age. He started playing the piano at the age
of seven with help from his mother. Formal piano lessons started at the age of ten.
He took his first lessons from Edith Kushllk, a Jewish lady who's sister-in-law,
Taubie Kushlik, became famous in theatre circles. Edith Kushlik's husband was a
science teacher at the Benoni High School, the school that Stockton attended.
Stockton was also in his class and remembers that he was able to speak, read and
write Esperanto (an attempt towards a universal European language during the
1930's and 1940's). He later became a lecturer in Physics at the University of the
Witwatersrand.
After two and a half years of lessons with Edith Kushlik, Stockton's father warned him
'that if he did not practice, music lessons would have to be terminated. This
eventually led to the discontinuation of piano lessons at the age of twelve. However,
he kept on listening to radio programs and especially those that featured Jazz music.
One of these that fascinated him to an extent was Alan Mandell's Jazz Program on
the South African Broadcasting Corporation (SABC) station. Mandell later moved to
Canada and furthered his broadcasting career there. According To Stockton, this
early exposure to the art of Jazz had a big influence on his later music career.
At the age of thirteen he again took up music lessons. This time with Dockey
Friedlander in Benoni, who had a positive influence on Stockton. It was also at this
stage that his parents moved to the Government Gold mining Areas (GGA) outside
10
Brakpan. Stockton used to ride his bicycle from Brakpan to Benoni for school, a daily
ride of almost twenty miles.
At the age of fifteen he started playing with dance bands in the Johannesburg and
East Rand areas and gained valuable experience in the performance of light music.
At the age of sixteen he returned to serious piano lessons with a music teacher in
Brakpan, named Nora levy. Private music tuition was a common practice during
these years as little music tuition took place in schools. At this time he was also a
member of Dockey's Masterkeys, which was a music company specializing in
providing band music for any occasion. They did four to five functions a week which
was of great financial help to Stockton. Stockton was the star of the band because of
his youthfulness.
Stockton finished his high school education at the Benoni High School and soon
afterwards took up a six-year apprenticeship at the Bothners Company in
Johannesburg as piano repairer and tuner. At the time, it seemed a good idea. As
time went by Stockton became increasingly curious regarding the theory and
composition of music. The questions in this regard were not satisfactorily answered
by his music teacher. He was referred to Marie Duggan, a music teacher in
Johannesburg. Every Saturday he would take the train from Brakpan to
Johannesburg to take lessons and music theory classes from Duggan. Soon she
came to the conclusion that she could not answer his questions. Eventually she
referred him to Richard Cherry, a well known theory teacher, bassoonist and
member of the SABC orchestra - but lessons with Cherry would begin later.
11
2.3 PROFESSIONAL PIANO PLAYING AND RECORDING
After two years, on his request, Bothners agreed to free him of his contract and he
moved to Margate on the south coast in 1948 (in what was then known as Natal) to
begin a professional career in music. The two years at Bothners provided him with a
sound understanding of the working and mechanism of the piano. The first place of
professional employment was at the Lucien Hotel in Margate, where music was
provided every evening for visitors and guests. Other musicians in that band were
Johnny Marshall (drums) and Tommy Coetzee (tenor saxophone). This
appointment turned out to be very brief, but stimulated his interest in this type of
work. He returned home but after a difference of opinion with his father, who felt that
the music profession was too insecure, he returned to Durban in Natal and again
sought work as a pianist.
On hearing that a pianist was required to join a band which would be employed in
East London, arrangements were made for an audition with this band in the Durban
Playhouse. One of the requirements for this job was that a member of the band
should play the guitar, as well as the violin. This presented a problem as such
players were always in short supply. The enterprising band leader, Victor Hansen,
solved the problem by persuading Durban guitarist and violinist, Gerll'ie de Vos, to
play the audition together with, his own pianist. The audition was successful and the
following day Hansen, Stockton and another guitarist, Bill Flernminq, proceeded to
East London where they performed with great success. The subterfuge was only
discovered six months later when the manager (Jack Stadel) of the restaurant in East
12
London reviewed the band's contract and asked why he had never heard the violin
played and was told that it fell overboard during the boat trip to East London.
After six months in East London he successfully auditioned to join a band in Port
Elizabeth. It was during the time in East London that he met a young lady, named
Jessie Tarr who would later become his wife. The band in Port Elizabeth was known
as the Modemaires. This was the first band that Stockton played with, that actually
read music and was under contract to the Marine Hotel and performed in the
reputable Sky Roof restaurant. After six months with this band he returned to Durban
where he joined well known band leader Basil Metaxis in the Orchid Room of the
Butterworth Hotel. These were the early days of Springbok Radio and numerous
programs were recorded for commercial radio. As a point of interest it should be
mentioned that their were no tape recording machines in those years, and recordings
were made directly on acetate discs and broadcast from Johannesburg or Durban
studios. Recording on these discs was quite nerve wracking, as three items were
recorded on one disc and should a mistake occur in the second or third item all would
have to be re-recorded.
This engagement lasted only four months as the nature of the music was far too
commercial for Stockton, who being young was interested in more Jazz orientated
music. The opportunity to play in a more Jazz orientated band was provided by
Scottish trumpet player and band leader, Jimmy Lonie,. who asked Stockton to join
his newly-formed band at the Faerie Glen Hotel in Margate. Others in this band were
Don Wepner (professional name Don Wayne) (singer), Dennis Coomer (drums) and
Johnny van Staden (bass). During this engagement Stockton married Jessie Tarr
and after six months returned once more to Port Elizabeth as resident pianist in the
13
Marine Hotel. This engagement lasted one year during which time Stockton also
taught the piano in Port Elizabeth and appeared with a number of bands in the hotel.
During this period his eldest daughter, Noeleen, was born.
After one year Stockton moved back to Durban where the well known Durban tenor
saxophonist Phil Harbour was forming a band to perform at the Hawthorne Hotel
and to replace organist well known Barry Snow. During the 1940's and 1950's it
was common for hotels to employ professional bands to entertain guests. The work
was interesting, though somewhat insecure. Shortly after Stockton had joined the
Phil Harbour band a dispute arose between the band leader and the management
and Stockton was forced to take over the leadership. The singer Herman Wertheim
was a well known artist in Durban at the time.
It was during his stay in Durban that he began recording for the SABC (South African
Broadcasting Corporation). Recording was done in their Durban studios.· The
programs were produced by Wilf Louwand presented by Kim Shippey, who was t ,', •
head of English at the SABC in Durban and later became a well-known sports
broadcaster. A most important Jazz program, broadcast by the SABC, was entitled
Artistry in Jazz. This program provided the opportunity for Stockton to experiment
with Jazz composition which drew wide attention. After leaving the Hawthorne Hotel
six months later Stockton joined the band of Boris Cohen who, together with Bobby
Chalker and Ray Hann (clarinet), were also featured on the Artistry in Jazz program.
During Stockton's two years with the Boris Cohen band, his son Gerald Lee was
born.
14
In 1953 Stockton received a telegram from Dan HUll, popular Johannesburg
bandleader, who later became the music director of Gallo Music, offering him work in
Johannesburg as pianist with his well-known band and this marked a turning point in
his life. By this time Stockton was a married man with a son, Gerald Lee, and
daughter, Noeleen Karen. Stockton's reputation had reached Hill and a replacement
was needed for Leon Cohen, Hill's pianist. Stockton moved to Johannesburg and
started work at the Diamond Horse-Shoe Night Club. This was a hectic time in
Stockton's life as working hours from Monday to Saturday were from nine o'clock in
the evenings until four in the morning. Stockton started recording and broadcasting
very intensely, taking part in many different radio programmes which were produced
in this period. It was also at this time that the long playing record (LP's) made their
appearance. Stockton was involved in numerous recordings for Gallo, Trutone
Studios, CBS (Columbia Broadcasting Studios, an American Label) and EMI, etc.
Different recordings and broadcasts with big bands were also made from the
Commissioner Street Studios of the SABC. Artists with whom Stockton worked in
these years include Nico Carstens, Hennie van Loggerenberg, Bez Martin, Roy
Martin, Jos Kleber, Art Heatlie, Johnny Fourie, Andy Johnson, Bob Hill, Teddy
Hockin, Julia Mann, Charlie Sayers, Charlie McClaren, Roy Hanger, Allan Hayes
Maureen Donne, Hymie Baleson and Anita Zucker.
An advertisement for a concert organized by the Jazz Society of the Medical School
of the University of the Witwatersrand (c. 1953/1954), stated the following and
emphasized Stockton's popularity:
"The Medical School Jazz-Society are presenting a concert which will without
doubt be the greatest ever to be held during a lunch hour at Wits. The artists
appearing are all well known figures, foremost of whom is Noel Stockton,
widely acclaimed as South Africa's most prolific pianist, many regarding
15
him on a par with the famous Dave Lee, now in Britain. Noel is best
known as the pianist from the SABe's "Artistry in Rhythm". Leading the
group is the fabulous Dan HiI/. A fine musician and a leader of one of the
largest bands in Africa. Many have heard Dan and his compositions and
arrangements on radio and at clubs. Danny Lewis and Derek [Tony] Gunning
will form a fine rhythm section on bass and drums. Be at Medical School on
Friday at 1pm for the concert of the year. "
During his stay with Dan Hill, Stockton received a phone call from a young man who
had heard broadcasts made from the Durban studios. The young man was Harry
Talas. Stockton subsequently met Talas and proceeded with lessons and their
association grew into a lifelong friendship. At present Talas sings with the well known
Big Band in Johannesburg, known as Fat Sound. This band performs a number of
Stockton's arrangements and most of them are sung by the same Harry Talas. This
lifelong friendship has to be mentioned as Talas is often been an inspiration to
Stockton. Harry Talas is currently in great demand in Johannesburg as a singer and
also as a bass player.
During Stockton's stay in Port Elizabeth he had met the wife of one of the saxophone
players, (Johnny Lee), named Virginia lee. While Stockton was a member of the
Dan Hill Band he introduced Virginia, who was on a visit to Johannesburg, to Hill. At
that time Hill's singer, Julia Mann, Was leaving the band and Virginia was invited to
audition for her post. She had a clear voice, passed the audition with ease and
began performing and recording with Dan Hill. This is but one of the many artists
who became known through their connection with Stockton.
Noel Stockton was involved in many radio programs, presented by well-known
broadcasters such as Clark Mackay, Johnny Walker and Adrian Steed. Included
amongst these were This is It! (for South African Motor Manufacturers and
Distributors), the Dennis Hale Show (for which Stockton was required to write
16
numerous arrangements), Light up and laugh!, which featured AIrUIl Ziegler and
Webster Booth and You write the tune!, which was a program presented by Bob
Courtney inviting the public to compose their own tunes for competitive evaluation.
The best were then selected, arranged, recorded and broadcast. One of the tunes
that became a hit was Tommy Roering's song Fanagalo. Other artists with whom he
worked were GordIon Mulholland, Peter Lotus, Eve Boswell and Maureen Donne.
During the years 1954 to 1955 Stockton was also involved in an early morning
program where he played solo piano. The show was hosted by Eric EgaD1l.Stockton
shared this program with a few other pianists, some very well known, such as
Gertrude Walsh and Ralph Baleson. Later he was also involved in similar
programs, such as Vra vir Fanus, hosted by well-known South African broadcaster
Fanus Rautenbach. Interestingly at this time the SABC adopted a new policy
towards radio programs requiring that they contain at least 40% South African music.
Stockton wrote many tunes and this new policy gave him the opportunity to
broadcast his own music.
In 1957 the famous American Jazz clarinetist, Tony Scott, toured South Africa.
Scott (his real name is Anthony Sciacca) was of Sicilian parentage and born in
Morristown, New Jersey. By virtue of his outstanding training and musicianship Scott
had brought the clarinet to the fore as an instrument expressing contemporary
musical thoughts, and was considered the "new Jazz king of clarinet". A list of some
of the leaders he played with includes Buddy Rich, Ben Webster, Charlie Venfura,
Claude Thornhill, Tommy Dorsey and Duke Ellington. He also worked for Harry
Belafonte as Musical Director and his brilliant arrangements of folk songs were
instrumental in bringing Belafonte to the fore. At the time, Stockton was playing with
17
a big band, led by Art Heatlie and Carl Shafter, on Sunday nights in the Old 400
Club in Johannesburg. Scott attended one of these concerts and was impressed by
Stockton's playing and asked him to join the group which was to accompany him on
his South African tour. Rehearsals began immediately after the Sunday night
concert, mentioned above, and continued until six in the morning. Scott was a
perfectionist and Stockton states that the seventeen concerts they did together in
South Africa were a turning point in his life. A review on one of these concerts, held
in Durban, stated that especially two of the items on the programme deserved
specific mentioning. They were Scott's own composition, "Blues for Charlie Parker'
and a scintillating piano solo by Noel Stockton. "Indeed Stockton's piano provided
brilliant support for the clarinetist." (1957, Rand Daily Mail, p. 19 - see appendix)
2.4 SOUTH AFRICAN AIRFORCE MILITARY BAND, PRETORIA
In 1957 family responsibilities brought the realization of the necessity for a change in
lifestyle. Stockton realized that the type of work he was doing was not suitable for a
married man with two children. Together with a few other notable musicians, such as
Bez Martin, Flippie van Vuuren (accordion), Hymie Baleson (trumpet), Gene
Latimer (drums), Roy Forsyth (saxophone) and Gene Petersen (trumpet), he
started looking for a job that could offer more security and steady employment. In
the same month that Stockton accompanied Scott on his South African tour, he
auditioned and was accepted into the South African Airforce Military Band in Pretoria
as bassoonist. (Sports Car Club of South Africa - Goldfields Branch, program of the
Variety Orchestral Concert by the Prisons Service Band, 1969). Director of Music at
18
the Airforce Military Band at that time, Koops van't Jagt, kindly allowed Stockton to
do the tour with Scott. Writing music for wind band, making transcriptions for wind
band from large scale orchestral works and arranging light music were his job and he
was required to play the bassoon and saxophone. Most importantly this new job
provided the vehicle for composition and arranging experiments. Stockton was still
taking lessons in composition and arranging under guidance of Richard Clhell'D1f.
Stockton states that Cherry had a profound influence on his music career. Cherry
was a man of formidable memory and knowledge of orchestral repertoire, as well as
being an extremely proficient teacher of harmony and counterpoint. Cherry himself
wrote quite a few works for orchestra. Stockton states that much of what he learned
about orchestration (one of his favorite music-career activities) was learnt by copying
orchestral parts for Cherry. Of course at that time the only way of copying was by
hand.
In 1960, after three years in the Airforce Military Band, Stockton resigned to start a
private piano-teaching practice. For six months he taught the piano in Pretoria, but
realized that it would not pay financially. In 1961 he went back to the Airforce Military
Band. During this second period in the Airforce Band, he was also appointed music
director for Alpha Films. Alpha Films produced mostly advertisements for movie
theatres and these advertisements were marketed under the name of Alexander
Films. The company was owned by an English businessman, Bill Boxer. During
Stockton's time with Alpha Films, he produced music for companies such as Coca-
Cola, Guinness Stout, Lucky Star Pilchards, Nestlé Smarties, Smirnoff Vodka, OK
Bazaars and many others. In those days there were two recording methods, namely
pre-sync and post-sync. Pre-sync meant watching the movie in silence, while the
highlights were measured by stopwatch and then the music was written accordingly.
19
As this meant recording the music separately from the movie, the recording had to be
done very carefully and precisely. Post-sync, also meant watching the movie in
silence and writing the music accordingly, although the recording was done in a
different manner. The studio was divided in two separate sound-proof rooms by an
opaque glass window. Sound-proofing of the rooms was essential as the projectors
were very noisy. The movie was then projected onto the opaque glass window from
the one room, and in the other room was the orchestra. The conductor faced the
glass and tried to synchronize the music with the action as it unfolded on the opaque
glass window.
During this. time Stockton was also approached by another filmmaker, to write music
for full-length films to be produced for SATOUR. Stockton was offered a full-time :~iJ:'
post, but that meant moving to England and he turned it down. Nevertheless,
Stockton wrote the music for a SATOUR film, entitled Introducing South Africa, which
was shown all over the world. The music was recorded by the SABC Orchestra, '~fq:
which at the time included such well-known musicians as Braam Verhoef (leader); )ffl
Jos de Groen (jr.) and Andy Johnson. This commission provided valuable
experience in composing for full orchestra. The music was matched to the film in
England where the technical facilities, in those days, were much more advanced than
in South Africa. The music was favorably received and Stockton was offered the
opportunity to write film music as a career, but responsibility towards his own family
prohibited the idea.
Orchestration and composition studies under Richard Cherry continued, as well as
harmony and counterpoint studies with Rosita Gooch, well-known Pretoria music
teacher. Catherina Struthers, formerly a piano lecturer at the University of
20
Stellenbosch, was also one of her students. Gooch was a very strict teacher and
expected a high standard of work from her students. Miss Gooch was (according to
news clipping) recognized as one of the best music teachers in the world, and a
leading teacher in South Africa. In her forty years of teaching, she trained more than
three hundred music teachers (Obituary, Pretoria News, c. 1965). In this time
Stockton also played the Grade 8 UNISA bassoon examination. Although being in
the airforce he performed and recorded regularly. During this time Stockton made a
recording under the RIDGE label, called Meet Noel Stockton, with Stockton at the
piano, Jolhhny Fourie and Boet Pretorius on guitar, Harry Talas on bass, and
Gene Latimore and Bobby Geen on drums. A small biography on Noel Stockton by
Gilbert Gibson already portrays Stockton's major successes in the music business as
well as gives a little insight regarding his style and some of the influences on his
style. This appeared on the back of the LP cover and states the following:
"My mother used to play a kind of honky-tonk piano and this moved me to
tackle the piano myself I was ten years old at the time and a piano was the
only musical instrument we had in the home. I guess I would have tried any
other instrument for that matter ... " these are the words of one of South
Africa's most promising young Jazz pianists, handsome, lean, brown-
eyed Noel Stockton. Six years later - at the tender age of sixteen - Noel
made professional appearances with orchestras like those of Basil Me taxis,
Boris Cohen and Dan Hill. Today he leads his own group which will come into
its own when Noel leaves the South African Airforce soon. (Dressed in a natty
blue uniform, Noel played the bassoon in an Air Force Band!) But the piano is
his main interest, followed by orchestration and the studio he plans to open in
Pretoria very soon. Born in Benoni, Noel toured the country as a pianist with
the famed American Poll Winner, Tony Scott, back in 1957. "Tony seemed to
like my style", this young man admits with characteristic modesty.
And Noel's musical style is as unique as they come. After his mothers early
influence via her "hanky-tonk piano", Noel could not escape the artistry of well-
known American singer, Nat "King" Cole - but this time it was not Cole the
singer, but Cole the Jazz pianist. This lesser known side of Nat "King" Cole
gave Noel his love for modem piano Jazz as played on this excellent long-
player; Jazz, light and breezy as champagne, background music with an
irresistible lilt, tastefully underscored by a rhythm section. Evergreen numbers
like "String of Pearls", "I could write a book", "Don't be that way" and "It ain't
necessarily so", are featured and Noel Stockton's easy way with the keyboard
21
makes this recording eminently suitable for cocktail parties and for pleasant
listening during the wee small hours of the morning ...
Noel - who is happily married and the father of two children - does not drink
or smoke. His one weakness is the piano stylings of Bud Powell and a feeling
of frustration shared by many other local musicians of exceptional talent. "We
are frustrated on the artistic side", he says. ':As a rule nightclubs don't
approve of Jazz and every real Jazz musician relishes the thought of being
able to play Jazz for an audience." While Noel relished the chance of making
this recording, we feel sure that the wide audiences this recording so richly
deserves, will enjoy his talent even more! Just tum on the nearest
turntable ... and see - and hear. (Gilbert Gibson: Meet Noel Stockton, LP
cover, RIDGE TMG 5006)
He kept on writing music for films and advertisements and did many arrangements
for military bands, as well as transcriptions for wind band from orchestral music
(these manuscripts were available in the Airforce Library & SABC Library). The
director of music for the Airforce Band at that time was Koops van't Jagt who later
became disenchanted with the Air Force and was approached by the Department of
Prisons to create a wind band in the same manner that bands had been created for
the Army, Airforce, Navy and Police. The Prisons Department was concerned about
their public image and creating a band was part of their plan to upgrade and raise the
. public concept of their department. Van't Jagt finally accepted their offer and
resigned from the Ai rforce, joining the Prisons Department in Kroonstad where a new
band was brought into being. The air force band was taken over by Willie de Beer,
who had been a trumpet player in the Army Band.
2.5 PRISONS BAND, KROONSTAD
Six months later Van't Jagt asked Stockton if he would be prepared to join him in
Kroonstad in 1965 as a full-time arranger for the Prison's band. Stockton accepted
22
the post which he still regards as probably one of the best jobs he ever had. He kept
on recording and broadcasting in Johannesburg, but of course on a lesser scale.
Apart from his job at the Kroonstad Prisons Department, he was also required to
write numerous arrangements for choir festivals, cultural meetings, etc. and through
people like Dirkie die Villiers, Tersteegen van Huyssteen, Chris Heyns and others
he did much work for the FAK, ATKVand other cultural organizations. Among the
works written, was the South African folksong Rhapsody NO.2 for wind band, which
was performed regularly by most of the South African military bands in South Africa.
Stockton's work in Kroonstad involved writing arrangements tailored to suit a growing
band of young musicians with little or no musical experience. Being situated in the
Free State made it difficult to recruit experienced players, as opportunities were not
as favorable as in the Transvaal. Sheet music was hard to find and in most cases
not available, therefore it was highly beneficial to have an arranger and composer
like Stockton on the team. The style and type of arrangements, regarding difficulty
and instrumentation, grew as the band grew in order to suit the band in different
stages of progress. Music was always adjusted to the level of band-development.
In 1973 the band of the Prisons Department made history by becoming the first
professional military band of its kind to approve the establishment of posts for women
musicians. The repertoire of the band ranged from Bach up to modern day
composers and even pop music. The wide range in repertoire was because of the
intensive training in both practical and theoretical aspects of music, under the
guidance of Stockton. (The Springs and Brakpan Advertiser, Friday, 13 July 1973).
In 1973 the band had already toured the country and played for audiences in many
23
towns, where they have been loudly acclaimed. (The Springs and Brakpan
Advertiser, Friday 10 August 1973).
Initially the treble clef was used for the whole band, in the manner of British brass
bands. Gradually the bass clef was introduced and as the band grew, Stockton was
able to get more experienced players. At first the senior band members were
Stockton, Fritz Kraut (a well known musician from Pretoria) and Dennis Wells (an
English trombonist who emigrated to South Africa). Later Wells developed and
directed a band for the South African Railway Police, who went under the name of
the South African Railway Police Band. The band of the Kroonstad Prisons
Department became after five years the most publicized band in South Africa, and
toured the whole country.
During this period Stockton met a young man by the name of Giovanni Schoeman
who had served a lengthy jail term but achieved great success in England and
America as an artist. In England he won an award for the best ceramic jewelry
designs in the United Kingdom. At a later stage he informed Stockton of a new
process he had developed in which metals of various kinds could be combined in a
cold casting process to produce art pieces. This occurrence would have some
significance in the future (Refer p. 25).
After approximately five years Koops van't Jagt, who was also a clarinetist, became
unhappy with the situation in Kroonstad. This unhappiness was largely due to the
reluctance on the part of the prisons department authority to move the band to a
situation in the Transvaal. 1He decided to leave the Prisons Department and on the
1 Van't Jagt's father who had been the conductor of a band in Bloemfontein at a time when there were
two major bands in the area. These were the South African Army Band and the SA Railway Band.
24
strength of this decision, Dirkie die Villiers (at the time Chief Inspector of School
music in the Orange Free State) created a post for a general wind teacher. This post
was advertised, but in fact it was intended for Koops van't Jagt. At the last minute
Van't Jagt changed his mind and stayed in Kroonstad. The wind teacher post was
given to Toon van Dongen, who had been a well known principal oboe player with
the South African Broadcasting Company's orchestra. This appointment was the
beginning of the instrumental music program in the Orange Free State, which later
became the Musicon.
Van't Jagt started suffering form chronic arthritis, and was transferred to Pretoria.
Stockton was asked to take over the directorship of the band. He directed the band
for five years. It was an extremely hard occupation and meant much more work than
was the case when Van't Jagt was still there. He had to organize rehearsals, write
the arrangements and conduct as well as take care of all the administration of the
band.
In the interim two more bands were created in the Prisons Department. One in
Baviaanspoort (outside Pretoria) which consisted of black members, and one at the
Pollsmoor Prison in Cape Town, which consisted of coloured members. Stockton
had to administrate all three bands. Besides gaining valuable experience in
administration, he also attended numerous courses on personnel management and
training. He states that he also gained insight into the sociological side of prison life.
Although not working directly with prisoners, except those doing the copying of music
scores and those involved in the music department, having the rank of Captain and
soon afterwards Major, he was able to move freely and meet prisoners, and listen to
their stories.
25
One of the young men that was trained in the Kroonstad band, was Nico
Hoogendoorn. Hoogendoorn is currently Artistic Head of the Musicon in
Bloemfontein and also a part-time trombone lecturer at the University of the Orange
Free State.
Besides directing and composing, Stockton continued broadcasting and wrote
numerous arrangements which were recorded by the SABC. Many of them became
part of the SABC library. For these recordings Stockton frequently used some of the
prison's band members. Most of the recordings for the SABC were still done in
Johannesburg, but some were also done in Bloemfontein. During his appointment
with the Prisons Department he worked with well known Free State musicians such
as Olga Rademan, Dougie Yazbek and Noleen Mitchell. He continued writing and
broadcasting. One of the popular SABC programs in which he was regularly featured
was Piano Playtime. He also continued to accept private commissions, such as
arrangements for the Natal Male Voice Choir, etc.
After five years of conducting and directing the Prisons Band, he left the Prisons
Department to start his own art business. Being of a creative nature, the
bureaucratic military environment made him increasingly unhappy.
Stockton had stayed in contact with the aforementioned Giovanni Schoeman, who by
this time had established a reputation as an artist in England. The process
mentioned above in which metals could be fused in a cold casting process had
attracted a great deal of attention and within a short space of time factories to
produce the art pieces were built in Spain, England and America. He offered
26
Stockton the rights to manufacture art works from this new process. Stockton was
offered the rights for South Africa, as well as Australia and New Zealand.
Unfortunately, because of technical problems, the business was not that successful,
and after a year of manufacturing Stockton started losing money and had to return to
music as an occupation. Fortunately he was contacted by em faorly, a well known
conductor of musicals, who needed a pianist for the PACT (Performing Arts Council
of Transvaal) production of Joseph and his amazing Teennicotor Dream Coat.
Stockton joined the orchestra in which his son, Gerald, was also a member and
stayed for three months. Gerald Stockton left South Africa at the age of twenty three
to further his music studies in the United States of America. He was a student of the
North Texas State University in Denton, and became the first South African to obtain
the B.Mus. (Jazz Ed) degree there. He was also the first South African to be a
member of the well known One o'clock Lab Band. (The Friend, c. 1977).
·2.6 LECTURER, ORCHESTRA PLAYER AND BAND LEADER,
BLOEMFONTEIN
In 1975 Stockton was contacted by the SADF (South African Defence Force) and
was offered a senior rank to take over the directorship of the Entertainment Corps.
Simultaneously Dirkie De Villiers offered him a woodwind teaching post in the
instrumental teaching program in the Orange Free State. The instrumental teaching
program was established to draw professional musicians to Bloemfontein and for
them to contribute their expertise on three levels, namely: teaching for the
Department of Education, teaching at the University of the Orange Free State and to
27
perform with the PACOFS (Performing Arts Council of the Orange Free State)
orchestra. Having had enough of the uniformed life, Stockton decided to accept the
offer of Dirkie de Villiers and joined the Free State Education Department in 1976. It
can be mentioned here that the PACOFS orchestra started as a private organization
and had been taken over by PACOFS shortly before Stockton accepted the teaching
post from De Villiers. At the time numerous highly experienced musicians were
already attracted to the scheme. These included leonard lemmer (flute), Heinrich
Armer (clarinet), Ernest Osman (trombone), Charles Howell (bassoon), Brian
Heritage (percussion), Bambi Conradie (oboe), Chuck Few (trumpet player from
the USA), Clem de Boeck (violin), Anna van Niekerk (viola), Michael Haller
(violoncello), Gerald Feinsinger (violin and viola), Richard Reid (violin), Mitsu
Szigeti (violoncello), Bunny Ashley-Botha (double bass).
The driving force behind the development of the orchestra and the instrumental
teaching programme, was Sean Kierman. Kierman came from the USA and was a
'French horn player. After negotiations with the administrator of the Orange Free
State, Sand du Plessis, Dirkie de Villiers was able to negotiate a privileged position
for Kierman, giving him special privileges to continue the development of the
orchestra and the teaching programme. The resident conductor of the orchestra was
Pierre de Groot who also taught at the University of the Orange Free State. All of
these people made great contributions to the development of music in the Free State.
Initially all the concerts of the PACOFS orchestra took place in the Odeion (the music
auditorium on the campus of the University of the Orange Free State), and
rehearsals were undertaken in the old chapel of the St Michael's School (at that
stage situated in Bloemfontein where the Sand du Plessis and PACOFS building is
28
presently located). Teaching took place at the St Michael's School, but lecturers
were also required to travel to other schools during the day, in order to teach. At the
time Stockton was teaching clarinet, saxophone and bassoon. This was a difficult
time, as he had not played the bassoon for ten years and was subject to a great deal
of stress. All the musicians under contract were then on the payroll of the
Bloemfontein College of Education.
Great strides were made in instrumental tuition and the Free State was regarded as
the most advanced province in this regard in South Africa. The instrument
development programme was brought about as a result of the awareness of the fact
that historically music education in South Africa centered on piano, singing and violin,
with a result that the orchestras were largely filled with foreign musicians, especially
in the woodwind and brass sections. As mentioned before this teaching programme
placed the Free State ahead of the other provinces. Later the Cape Province, Natal
and Transvaal would create the same type of programmes.
Stockton states that playing in the PACOFS orchestra gave him greater insight into
orchestration and composition. During this time he also continued producing
arrangements and compositions for different kinds of ensembles and featured as
musical director for numerous productions during the seventeen years he spent in
the orchestra.
Large productions were staged in the Civic Theatre, such as Turandot, Tosca, Land
of Smiles, " Travatore, and others. Operettas included The Bartered Bride, Student
Prince, and many others. During these years the productions were subsequently
29
staged in Welkom, Kroonstad and Sasolburg and musicians in Bloemfontein were
kept very busy.
During Stockton's years with the orchestra, he formed a big band (sometimes known
as a stage band). Some of the original members included Willem Edeling
(saxophone), Vincent Saffy (saxophone), Chuck Few (trumpet), Sean Kierman
(French horn), Johan Pretorius (trumpet) and Ernest Osman (trombone). Later
another big band saw the light under the guidance of Stockton. This band gave
performances in the city hall and were called The Noel Stockton Big Band Concerts
and were promoted by PACOFS. Another interesting production produced by
Stockton in 1987 was, Here's 2 Jazz, in collaboration with the Jazz Art Dance Group
of Cape Town, under directorship of Alfred Hinkel. Stockton wrote the compositions
and arrangements for the twelve piece Jazz group which performed with the dance
group. In an article in Die Volksblad of 13 February 1987 Stockton stated that all his
compositions for this concert were light and in the style of Dave Grusin and Bob
James - the type of music that audiences enjoy, with none of the elements that
usually annoy people who do not like Jazz. The band consisted of some of South
Africa's best Jazz musicians, including Tony Moore (percussion), Johnny Fourie
(guitar), Nippy KripweIl (bass), John Davies (trombone), Kevin Davidson
(saxophone) and Ian Smith (trumpet). Later this same show was staged in the Oude
Libertas Open Air Theatre in Stellenbosch. Cape Town musicians used included
Willie Haubrich (principle trombone player of the Cape Town orchestra), Cecil
Ricca (drums), Moe Robinson (bass) and Daryl Walters (saxophone and clarinet).
In Bloemfontein Stockton continued his recording and broadcasting for the SABC.
The programs Vra vir Fanus and Piano Playtime were recorded in the original SABC
30
studios in Bloemfontein, which at that time were in an old house altered for
broadcasting purposes. These recording studios were not very soundproof,
consequently when it rained, recording could not take place. One of the senior
personnel at the SABC Bloemfontein studios during that time was Morné Pretorius.
Stockton started doing concerts using the PACOFS orchestra with extra musicians
flown in from Cape Town and Johannesburg. The first of these shows was called
PACOFS GOES POP, and tickets were sold out two weeks in advance. This show,
with added saxophones and brass, Noel Klinkhamer on piano and Cecil Ricca on
drums, was a great success. Stockton subsequently directed the music for a large
production for the "Year of the Disabled", which took the form of a gala concert and
featured some of South Africa's best known artists such as Margaret Sill1lgana
(vocalist), Gé Korsten, Evelyn Dalberq, Amanda Strydlom and was directed by
John Badenhorst. This show was televised and also attended by the state
president, Pieter Willem Botha.
When television was launched in South Africa, Noel Stockton was one of the first
people to record for this medium. He was commissioned to put together a big band
for recording a television performance. Others that were similarly invited were Bez
Martin for small combo and Flippie van VUlll.uenfor Boeremusiek. The recording
techniques at the time were still far from perfect and still in the developmental stage.
Sound and visuals were being recorded simultaneously and presented many
problems. Later the recording of sound took place on its own and the visuals were
mimed by the performers and musicians. This method of television recording
continued for many years, but today sound and visuals can be recorded together.
31
Stockton spent seventeen years teaching at the Musicon, and also seventeen years
in the PACOFS Orchestra. These years afforded the opportunity to continue
studying and enlarging his knowledge of woodwind and brass music, as well as
teaching method and repertoire. He learned a great deal from his colleagues most of
whom had his greatest respect. Names which can be mentioned in this regard
include the late leonard lemmer (flute), Heinrich Armer (clarinet) Dieter Morshal
(bassoon) and Dieter Mobert (trumpet).
In the early nineties Stockton was approached by GerrritBonn, the well-known oboe
player, who had become the head of music at the Natal University in Durban. He
informed Stockton that they had decided to create a Jazz studies department there
and asked him to make application for the post of lecturer to head this department
and assured Stockton of his support. Stockton duly made application and attended
the required interviews, however the post had been obviously earmarked for Darius
Brubeck of the USA who was duly appointed. Stockton was to learn that this
decision was greatly influenced by Prof. C. Ballantine, a senior academic with
strong political sentiments. It became obvious later that the encouragement to apply
for the post had been purely for window-dressing reasons. This incident made
Stockton aware, once again, of the role that politics plays in the arts and education.
Sometime later Gerrit Bonn moved to the College of Music at the University of Cape
Town where he was installed as Professor, Dean of the College of Music and Ballet
School, a much sought-after and highly regarded post within music education in
South Africa. Bonn immediately set up plans to create a Jazz department at UCT
and invited Darius Brubeck to transfer for Durban to Cape Town for this purpose.
Fortunately Brubeck decided not to move from Durban and Mike Campbell was
appointed to develop the Jazz department - a job which he has performed extremely
32
well. Mike Campbell completed his studies at the North Texas State University, one
of the most highly regarded music schools in America, situated in Denton, Texas. He
studied alongside Stockton's son, Gerald, both of whom hold degrees from the above
mentioned college. Currently Mike Campbell is associate-professor and head of the
Jazz department at UCT.
After seventeen years Stockton decided to leave the Musicon. Subsequently he was
approached in 1993 by Prof. Johan Potgieter, Head of the Department of Music at
the University of the Orange Free State, who was interested in establishing university
courses in Jazz and light music. The idea at this time was to attract more students to
the department. It was felt that with the changing socio-political situation in South
Africa, these courses might also attract students from other cultural groups. This
however failed to produce the expected results and with the tightened economic
conditions that developed at the universities it was decided to integrate the Jazz
courses into the B.A (Music) and B.Mus. degrees as ancillary subjects. Resulting
.from the continuous deduction of staff, Stockton was drawn into the theory
department, teaching orchestration, composition, arranging, history of Jazz, score
study, form and Jazz fundamentals. The years at the university proved to be
rewarding and highly productive. Stockton states that working with highly qualified
and experienced musicians has been most stimulating. Stockton was appointed
external examiner for the Jazz Department of the University of Cape Town, as well as
external examiner for the Defence Force Music Department, he has also been
appointed examiner at the Potchefstroom University (PU for CHE) and he has also
served on the bursary committee of SAMRO (South African Music Rights
Organization).
33
Against this background, Noel Stockton's contribution to music in South Africa can
not be omitted in the music history writing of this country. In the chapter to follow his
approach towards the courses he lectures and the degree he designed for Jazz
students at the University of the Orange Free State, will be discussed. Some general
problems and suggestions regarding the subjects he teaches will be highlighted.
(The fol/owing photographs have been selected in order to visual/y depict certain
highlights in the career of Noel Stockton.)
34
During a rehearsal
(The Outspan: 'Jazz is sweeping South Africa', 1954)
Concert: Prisons Band, 1969
Durban City Hall (Conductor: Noel Stockton)
On tour with Tony Scott (American Clarinetist) 1957
Max Runge (bass), Alan Hayes (drums), Tony Scott (clarinet) & Noel Stockton (piano).
Here's 2 Jazz (PACOFS Concert) 1987
Front: Kevin Davidson, Ian Smith & Ben Theunissen.
Back: Jonathan Cripwell, John Davis, Nol Klinkhamer, Tony Moore,
Noel Stockton, Andries Mostert & Johnny Fourie.
(Volksblad, 13 February 1987)
Noel Stockton teaching at the Musicon (Bloemfontein) 1990
(Volksblad 8August 1990)
Airforce Ball Voortrekkerhoogte (formerly Roberts Heights) 1960
Fritz Kraut (saxophone), Johnny Maritz (drums), Johnny Staden (bass),
Chris du Toit (guitar) & Noel Stockton (piano).
Lunch Hour Concert (PACOFS)
Charles 'Ossie' Osman (trombone), Jasmine Antonie (castanets), Alex Young (flute), Ronnie
Laing (drums), Brian Heritage (vibraphone), Noel Stockton (piano) & Francis 'Ponkey' Reilly.
Major Noel Desmond Stockton
Dr Frederick FenelI (World Famous conductor & recording artist) with Stockton
Doug Masek (saxophone & clarinet virtuoso), Jasmine Antonie, Noel Stockton &
Dr Nicol Viljoen (lecturer in Music Theory at the UOFS).
Noel Stockton Big Band Show (City Hall, Bloemfontein) c. 1960
Round Table Halloween Dance (Bloemfontein) 1985
Noel Stockton Big Band
Murray Campbell, British trumpet virtuoso (Bloemfontein) c. 1950
Seen playing with Noel Stockton Big Band.
Top Brass (created by Noel Stockton in Bloemfontein) December 2000.
Back: Hendri Liebenberg, Roger de Smet, Gerhard de Jager, Anthony Duffin,
Marco D'Angelo & Dave Houghton.
Front: Andries Mostert, Seth Winkler, Ettiene van Rooyen & Noel Stockton.
The Sound of Music (Sand du Plessis Theatre, Bloemfontein) 1998
Chris de Wet, John Smit, Mia Zeelie, Pieter de Wet, Noel Stockton & David Houghton.
The Wiz (Sand du Plessis Theatre, Bloemfontein) 1997
Yvette Schoeman, Noel Stockton, Chris de Wet, David Houghton,
Pieter de Villiers, & Pieter de Wet.
POSTER 1969 (SA Prisons Band Concert) Durban
POSTER 1984 (Noel Stockton Big Band) Bloemfontein
Jasmine Elizabeth Stockton (nee Antonie)
Choreographer and Dance Teacher
Seen during rehearsals for the premiere of Alan Stephenson's
Toccata Symphonica for strings and castanets.
Gerald Lee Stockton (Dallas Texas USA)
Seen during enrollment at North Texas University in Denton, Texas.
CIHIAIP1rlElR 3:
3.1 iNTRODUCTION
The enormous contribution that Noel Stockton made as pedagogue, is mirrored in his
commitment towards teaching. He is a dedicated lecturer who also takes interest in
his students as individuals. His support has led many a student to perform to the full
extent of their abilities and his influence on students proves this fact. At this stage of
the investigation it could be valuable to view Stockton through the eyes of his
students.
David Houghton, a former student of Stockton, writes:
"Noel Stockton's teaching is comprehensive and thoroughly up to date. My
year and a half with Noel were invaluable to my musical development.
Although Noel has not had many students, he has had a profound influence
on all of their musical lives. "
Mia Zeelie, another former student, writes:
\
"I have the greatest appreciation for the work that Stockton does. He is a
perfectionist with high ideals for his students. He works in close relation to his
students and will on many occasions not spare his own time to help them. It is
of great importance to him to offer his students performance opportunities,
which on the other hand encourage them to work harder. He has a great
sense of humour and an outstanding personality. His presentation of the Jazz
Music History course can be considered the best there is. He has done a
great deal towards the development of Jazz in South Africa, and his name is
very well known in Jazz circles countrywide".
35
Seth Winkler, also a student of Stockton, writes the following:
"Mr. Stockton introduced me to a realm of music that without him I would never
had experienced. I believe that that if it had not been for his perseverance,
dedication, passion and love for Jazz, Jazz would never have made any
impact on the Bloemfontein community. I personally believe that Stockton is
the most competent Jazz-instructor this country has ever produced, and it has
been a great honour to be one of his students".
Hendri Liebenberg, currently a B.Mus. student at the University of the Orange Free
State, states the following:
"Stockton has an enormous knowledge of his subject field and is able to
present this knowledge to his students in a clear and understandable way. He
is a leading figure in Jazz in South Africa and I would rank him amongst the
top people in this field in the world. He has affected my life and studies in
countless ways and I can say without a doubt that he has been the greatest
influence in my musical development up to date. I think he is one of the
greatest assets to the University of the Orange Free State!".
The Jazz course currently presented at the University of the Orange Free State was
initiated, designed and implemented by Noel Stockton in 1992-1993. The B.Mus.
Jazz degree consists of courses in:
.:. Arranging
.:. Orchestration
.:. Jazz improvisation
.:. Composition
.:. Jazz score study
.:. Jazz music history
.:. Jazz basics
.:. Jazz practical tuition, and
.:. Contemporary music practice .
36
Hence these aspects will be discussed separately regarding the problems and
suggestions in the teaching thereof, based on Stockton's own approach and
experience. (Books mentioned in these discussions, although not used as study
material, are listed in the bibliography.)
3.2 ARRANGING
Stockton sees arranging as the subject in which he achieved the most success in his
life as a musician. According to him a comparison between arranging and
orchestration is interesting and, in the case of students, most important. Both
activities require talent, experience, discipline, imagination and hard work in order to
achieve success. Although they have much in common there are important
differences which should be made clear. These differences are similar to those that
exist between classical and Jazz performance. In the former the artist tries to deliver
a rendition of a work which adheres as close as possible to the composer's written
intentions, and personal ideas of expression are somewhat restricted by tradition and
prevailing stylistic concepts. The Jazz musician, on the other hand, is both composer
and performer at the same time, and strives to produce a highly personal
performance in every respect.
The orchestrator, while able to exercise much imagination is nevertheless restricted
by matters of ethics, taste and style, and has less chance of revealing a personal
identity than the arranger, who may express his own ideas much more freely.
37
Stockton states the following as the main problem areas regarding the teaching of
arranging, as well as some suggestions on the approach towards the successful
teaching of this subject.
3.2.1 Problems regarding the teaching of arranging
According to Stockton the following are main problem areas, namely that:
.:. Most textbooks on arranging seem to assume that the student has acquired
considerable experience in both tonal and sectional harmony. The examples they
contain (usually drawn from the authors own work) are presented in various ways
including tape or compact disc recordings and provide all the required information
regarding transposition, range of instruments and others. Unfortunately most
students, at the end of it all, are still unable to write a reasonable arrangement for
combo, Big Band, small orchestra, vocal group or any other combination of these .
•:. Most students - and especially those with a strong piano background - have very
little understanding of articulation with regard to wind instruments and bowing in
regard to the strings. The importance of these should be stressed in all exercises
from the outset.
.:. Students with a so-called established background have difficulty with sectional
harmonization, a rather different concept of harmony (compared to the more
legitimate classical approach) which relates to an understanding of chord
nomenclature and chord voicing. It often takes quite some time for students who
are not experienced in Jazz to become familiar with this style of harmonization.
38
·:. Idiomatic writing is usually a mystery to students. Again students with a piano
background are greater culprits in this regard and need to be made aware of the
differences that exist in the style of lines written for the different instruments. For
instance, a typical figure written for brass would sound 'un-idiomatic' when written
for strings .
•:. Notation skills are in most cases lacking, and should be attended to from the
outset with continuing concentration thereon .
•:. All of the above-mentioned problems are compounded when a student has no
keyboard skill at all. Students whose background has been shaped by single-
note participation in music (trumpet, saxophone, violin, etc.) need to be aided in
their aural development in regard to chords, voice leading, bass lines and
harmony .
.Of course the inculcation of interest in creative writing is the most important aspect of
this work and unfortunately those with an aptitude for arranging only comprise a
small percentage of music students.
3.2.2 Suggestions regarding the teaching of arranging
Understandably not all students are imbued with great musical imagination and
creative ability and drive, but arranging and orchestration (to be discussed hereafter)
are skills in the first instance and become an art in the hands of the gifted. Therefore
all attempts by students at arranging should be encouraged. The following are some
of the useful suggestions:
39
.:. Students must be encouraged to listen with 'analytical' ears, to as many varied
arrangements by successful arrangers as possible, as well as to the works of
selected twentieth century composers .
•:. Articulation and/or bowing indications should be required in all exercises and
should be given much attention in teaching arranging (as well as orchestration
and composition) .
•:. Sectional harmony - in two, three, four and five parts - must be stressed at an
early stage in any arranging course. The importance of functional harmony must
also be accentuated and students should be encouraged to study this .
•:. Chord names, structure and voicing require constant attention .
•:. Exercises in idiomatic writing should be given regularly .
•:. Neat and correct notation should also be dealt with early in an arranging .course,
and always insisted upon .
•:. Keyboard lessons should naturally be a requirement.
.:. Today the computer has become the main tool in most undertakings and music is
no exception. A great deal of arranging is done presently with the use of
advanced programs. Sequencing is a most useful tool and can be used to give
students an idea of how their work sounds when a live performance is not
possible. The importance of a music technology course (discussed later in this
40
chapter) either within the arranging course or at least running concurrently with it
can not be overemphasized.
3.2.3 Stccton's own experience
Although having arranged and composed numerous pieces for various small bands -
called combos in Jazz parlance - his first opportunity to write for a large band came
in 1950 when he was asked to write an arrangement for a Big Band lead jointly by
Nolan Ranger and Boris Cohen. The music was to be broadcast from the Durban
studios of the SABC. He completed the work at six o'clock the morning, having
worked through the night. The piece he chose was 'Thou Swell' , a well-known
composition by Richard Rogers and Larry Hart. Later that same morning he left
home in a somewhat terrified state, in fear of exposing his ineptitude in front of
musicians he respected and looked up to. For all endeavours however, there has to
be a first time and remembering that old adage 'Feint heart never won fair lady', he
handed out the parts to the musicians and sat waiting for the sounds of his own
creation. The piece was a success and he received the princely fee of three pounds
and five shillings. The effect of this experience was that he got hooked on arranging
and it became part of his life.
After moving to Johannesburg he was provided ample opportunity to continue
arranging as a member of Dan Hill's band, which did a good deal of broadcasting.
Later, as a member of the Airforce band in Pretoria, he was in the ideal situation of
having to produce scores for a large wind band. According to Stockton, wind bands
provide the ideal training ground for young arrangers. In this area the work of Clare
Grundman stands out and he recommends his example to any student of arranging.
41
3.3 ORCHESTRATION
According to his own experience, orchestration is one of the more difficult subjects to
teach, and - as is the case with arranging and composition - is a skill and a science,
becoming an art in the hands of the experienced and talented musicians.
3.3.1 Problems regarding the teaching of orchestration
According to Stockton the following are the main problem areas when teaching
orchestration:
.:. The orchestrator is most often required to transcribe music form one medium
(usually the piano) to another (usually an instrumental ensemble of some nature
or other). It goes without saying that the homogenous sounds produced at the
piano have little in common with these when transferred to orchestral instruments .
•:. There is also the old problem surrounding the sustaining pedal of the piano, which
must be taken into account when transcribing from this medium. There are
various ways of doing this, but the most important of these is the inclusion of
sustained tones in the musical texture where possible .
•:. Orchestration is a time-consuming exercise and most undergraduate students just
do not have enough time to undertake lengthy orchestration exercises. Most
orchestration exercises therefore tend to be rather brief. It is important for the
lecturer to present assignments during the course of the semester which are
42
longer in nature and which in the course of completion can have lecturer input
and advice .
•:. Students studying orchestration and arranging are faced with the same problem,
that of having their work performed, providing the opportunity to hear what they
have written. The computer, as mentioned before, can provide quite a good
solution to this problem through the use of sequencing programs.
3.3.2 Suggestions regarding the teaching of orchestration
Stockton states that students must understand the style of music to be orchestrated.
Historical knowledge relating to period and composer is an important issue. For
instance one needs to have some idea of (a) when clarinets and trombones were
introduced into the orchestra, (b) when valves were added to brass instruments and
how the older (without valves) brass instruments were used by composers, (c) when
and how the percussion section was enlarged and how this section is used in our
time. These are only a few of the considerations that the orchestrator must attend to.
Therefore in designing a course the historical development must be taken into
account.
.:. Knowledge of the practical issues of range, timbre, balance and blend, bowing,
articulation and attack, and dynamics are of the utmost importance for students in
order to learn orchestrating successfully. These are learned from the various
textbooks, as we" as the study of selected scores.
43
.:. The orchestrator also has to be aware of the ethical responsibility when working
with someone else's creations. Alterations to a composer's harmony for instance
should not be made without a really good reason. Orchestrations should reflect
the style and technique of the composer .
•:. A wealth of information is available in the standard texts of Forsyth, Piston, J.
Wagner, G. White (which is devoted to arranging as well), and R. Liebowitz, as
well as many others. Although it must always be kept in mind that the skill is
learned in the 'doing' aided by the 'reading', but most of all by studying the scores
of great and successful composers .
•:. Lecturers should design courses that do not progress too quickly, and whenever
possible these should integrate with the theory and history studies .
•:. Non-string players, in particular, need time to absorb the subtleties surrounding
the use of these instruments that make up the largest compliment of the
orchestra .
•:. Short exercises should be chosen from the so-called 'common practice period' .
•:. The usual procedure is to deal with the string section first, adding horns,
woodwind, brass and percussion as we move from the classic period to the
contemporary .
•:. The importance of listening to selected recordings along the way cannot be
overstated.
44
3.4 IMPROVISATION
Improvisation (or Extemporization) in classical terms is concerned with the
spontaneous creation of music with the accent being on motivic or thematic
development, as well as harmonic variation. The Jazz conception of the term relates
to the spontaneous creation of a melodic line over a pre-conceived harmonic
scheme. This harmonic sequence is often borrowed from a "standard". Of course
the element of improvisation has always been present in music. A simple instance,
for example, would be the "colourization" of melodic material by means of
ornamentation - as in the Baroque, Gallant; and to some extent, later periods. Many
of the great composers (Bach, Handel, Mozart, Beethoven, Liszt, Franck, Bruckner,
et al) were outstanding improvisers, and many of today's organists are required to
display this ability. An interesting phenomonon in regard to this topic exists in Jazz
and is referred to as "Collective improvisation". This was the main feature of the style
. of Jazz known as "New Orleans Style" - and later "Chicago Style" - and, as its name
implies, describes the music created by two or more players improvising
simultaneously.
3.4.1 Problems regarding the teaching of improvisation
Stockton sees the following as the main problem areas with regard to the successful
teaching of improvisation, namely that:
2 Standard: term used to describe popular compositions, often drawn from Broadway musical
productions such as those of Gershwin, Cole Porter, Rogers and Hart, etc., which have been used
consistently by Jazz musicians as vehicles for improvisation - that is the harmonic basis for
improvisation.
45
.:. Learning to improvise in any style can be extremely difficult for most students,
especially for those playing non-keyboard instruments which do not provide the
visual contact that is available on the keyboard. The structure of the piano
keyboard provides easy visual images of chords for instance. In other words a
student looking at the keyboard can see the notes of a chord simultaneously,
where as a saxophone or trumpet players produces notes from his instrument by
means of mechanical manipulation of valves and keys which lie haphazardly on
the instrument to some extent.
.:. Jazz requires specific stylistic idioms which can only be acquired by constant
listening. It must be remembered that Jazz music is an "aural" art and has
traditionally been passed on by word of mouth, so to speak, from one generation
to the next.
Regarding these problematic issues, Stockton gives the following suggestions.
3.4.2 Suggestions regarding the teaching of improvisation
Stockton is of the opinion that:
.:. A good deal of listening is required as is a thorough knowledge of chords and a
fairly developed technique. Chords generate scales outside of the usual scales
generally taught in legitimate situations (often limited to only the major scale and
the two forms of minor scales) and these chord/scales are associated in teaching
Jazz improvisation.
46
.:. Jazz musicians must be familiar with symmetrical scales such as the whole-tone,
heptatonic and augmented as well as those based on the modes of the major
scale (Dorian, Phrygian, Lydian, etc.) and alterations of these. They must also be
able to use the modes of the ascending melodic and harmonic minor, pentatonic
and "Blues" scale, etc. These scales and their attendant chords are associated in
the mind of the performer who adjusts them to accommodate any harmonic
variation (chord substitution) .
•:. A very sensitive sense of time and rhythm is of the utmost importance. Jazz
depends for its success largely on the so-called 'swing feel' which is dealt with in
3.5 .
•:. Jazz improvisation should only be considered by students who have a serious
interest in this form of expression. The study requires much time for practise and
listening, and can be a frustrating experience for the average student.
.:. Courses differ in their presentation from institution to institution, but it is important
for students to complete a course in Jazz theory before commencing
improvisation study - or, at least, concurrently with this .
•:. During the 70's and on into the 90's overemphasis on the use of modal concepts
has led to improvisations which are highly repetitious, un-musical and often plain
boring. These often sound like nothing more than exhibitions of "patternistic"
exercises. These patternistic exercises are based upon patterns that are motives
or phrases practiced by Jazz musicians in all keys (pitch levels) with various
modifications to fit the various chords. These provide the student with an armoury
47
of motives which he can then modify to his own liking. They are very helpful in
the development of technical flexibility and style .
•:. Publications on Jazz improvisation (Baker, Hearle, Mehegan, Bergonzy, etc.)
abound and new ones are continually appearing. Lecturers should at all times be
aware of what is going on in their field of expertise.
3.5 JAZZ MUSIC HiSTORY
History is an important aspect of any academic discipline and in regard to Jazz some
particular problems can be identified.
3.5.1 Problems regarding the teaching of Jazz music history
Stockton sees the following as the main problem areas in teaching Jazz music
history, namely that:
.:. In recent years the approach to teaching Jazz music history has been influenced
by the work of Mark Gridley, whose book Jazz History has had a significant
influence. This approach places the emphasis on recognition of performers and
their styles, chronologically. According to Stockton here is a great deal to be said
for this approach, because the nature of Jazz and the art therein lies in
improvisation - in other words, instant composition. This means that
performances can only be evaluated instantly, or subsequently by recordings, in
48
comparison to classical music where the score (music score) is usually available.
Of course the classical performance and interpretation thereof must also be
evaluated in like manner. The essential difference being that there is no music
available for a Jazz performance, and performances of the same piece can be
radically different.
.:. Essentially Jazz is preserved through the use of recordings. Unfortunately the
most earliest Jazz performers (prior to 1925) and their work could not be recorded
(due to the lack of recording machines) and the knowledge we have of their work
has been passed on only by word of mouth.
In the above regard Stockton's own views are significant.
3.5.2 Suggestions regarding the teaching of Jazz music history
With regard to the successful teaching of this subject, Stockton suggests the
following:
.:. According to Stockton, the approach mentioned above lays less emphasis on the
socio-economic background to the creation of Jazz music. Stockton's own
approach is more in keeping with that of the accepted academic approach to
general (classical) music history, in which the socio-economical factors play an
important role.
49
.:. Jazz musicians need to have a sound concept of how Jazz music evolved and
this requires beginning the study from the fifteenth century (its pre-history) and
includes the slave trade and colonization of the New World. Much debate takes
place in regard to Jazz history and the teaching thereof. Like Wynton Marsalis
(world famous trumpet virtuoso and Jazz educator in America), Stockton believes
that a true Jazz enthusiast and lover, should be aware of the 'spirit' prevailing at
times in this history .
•:. Because the history of Jazz as an art form is much shorter than that of classical
music, Stockton suggests and adopts a chronological approach.
3.6 THE TEACHING OF PRACTICAL JAZZ WITH REGARD TO PIANO
With his vast experience Stockton notes certain crucial problems with regard to the
teaching of practical Jazz.
3.6.1 Problems regarding the teaching of practical Jazz
Stockton states that naturally the more technically proficient a student is, the better.
A standard of not less than UNISA Grade 6 or 7 is advisable (University of South
Africa, practical music examination), as less than a grade 6 presents problems.
However, the situation in South Africa is more problematic than elsewhere with
would-be Jazz performers from the so-called underprivileged groups, applying for
admission and having very little practical skills. In such cases a preparatory course
50
of at least two years is necessary, devoted largely to technical and sight-reading
skills. The subtleties of Jazz performance (Individual code, ecstatic function, swing
feeling and improvisation) are often very difficult to grasp by classically trained
musicians. These subtleties are largely connected to time and style. Unless the
student is able to embrace the concept of 'swing' as understood in Jazz parlance,
there is little hope that they will ever produce a creditable performance. This is an
extremely difficult area to explain and in many instances is never really understood.
Stockton has valuable insight with regard to the above problematic areas.
3.6.2 Suggestions regarding the teaching of practical Jazz and Stockton's own
approach
.:. Stockton spent a lot of time on inculcating a good understanding of phrasing in
relation to a steady metrical beat. This is his primary concern in beginner-stage.
A Jazz student requires a thorough understanding of vertical structures (chords)
and must be able to reproduce any collection of notes from chord-symbols
instantly. This process of 'chord-voicing' takes much time and in his approach
much time is devoted to it in the early stages of the course. He uses numerous
drills to aid this, some by himself and others published .
•:. The second step is to present the numerous modes and scales, as well as their
associated chords, which would provide a basis for a freer approach to
performance. It will be realized that there is a degree of improvisation involved
and overlapping with it.
51
.:. Stockton uses mostly his own arrangements of standard pieces, graded to
gradually develop the skills and stylistic 'Jazzizisrns". A lot of published
transcriptions are used to back this up. As studies progress he encourages re-
harmonization of melodic material and continually demonstrates this as well as
reference to published arrangements .
•:. Teaching solo Jazz piano involves the aspect of what is known as 'stride piano'."
This is one of the most difficult performance styles requiring strong technique,
especially regarding the left hand, which provides both rhythmic and harmonic
accompaniment for the right hand extemporization. From this point on the main
considerations are continued technical development, sight-reading skills and
development of a personal style .
•:. Added to the above-mentioned is an understanding of the requirements for
ensemble work and performance, which incorporates the instantaneous creation
of accompaniment, known as "comping".
Stockton has set views concerning the very important aspect of ensemble work in
Jazz.
3 'Jazzizisms' is the term Stockton uses in his own arrangements in the teaching of practical Jazz.
These exercises each concentrate on a certain skill or style.
4 "Stride piano" is that style of playing which arose in what is known as the ragtime-period. Ragtime
piano playing however although performed mainly by black musicians reflected largely European
concepts. Later (c.1920's and early 1930's) this style of piano playing was changed in the work of
pianists like Jellyroll Morton, James P. Johnson, Thomas "Fats" Waller and others, until it became
known as stride piano style, reaching its epogee in the work of Art Tatum. Stride piano is principally a
solo type of performance.
52
I \ S
3.7 THE TEACHING OF JAZZ ENSEMBLE
The creation of suitable Jazz ensembles within the student corps can sometimes
present problems. Most Jazz ensembles require at least a two-man rhythm section
(bass and drums) and so the instrumental make up of ensembles is dependant on
the instrumental diversity among the student body as well as their varied level of skill.
However, this constitutes the most important part of the course and can never be
omitted. Jazz educators have to devise ways and means of creating the necessary
ensembles by constituting ensembles which have some semblance of the Jazz
combo (rhythm section plus front line players). All lecturers involved in practical
teaching should also be involved.
For pianists the development of good "camping" skills is a must in terms of ensemble
playing. (See The teaching of Practical Jazz with regard to Piano, refer 3.5)
Not withstanding the above, Stockton realizes the importance of music technology in
the teaching contemporary Jazz.
3.8 THE TEACHING OF MUSIC TECHNOLOGY
The computer has become a necessity in all walks of life and certainly not less so in
music. The use of the computer and music software is commonplace in the music
53
industry. Notation and sequencing programs are continually appearing of being
updated and more and more commercial music is produced by means of this
technology.
The inclusion of courses dealing with this area of expertise has become a sine qua
non which most institutions have introduced. The establishment of a working
technological unit is expensive however and requires a large financial outlay. The
largest proportion of recorded music one hears today involves some use of music
technology. Courses in this subject could also include the creation of electronic
music per se.
Courses in the creation of advertising material for television, film and radio Uingles)
are obviously also part of this area of education.
Nevertheless Stockton argues that the lifeline of Jazz is its academic recognition on
tertiary level.
3.9 THE CREATION OF A JAZZ COURSE ON TERTIARY LEVEL
To realise his ideal of the recognition of Jazz on tertiary level, Noel Stockton was
influential and the motivating factor in the designing of the Jazz course for the
Department of Music at the University of the Orange Free State in 1992. He states
that the following can be seen as an example of how such a course should look and
what should be incorporated in it.
54
3.9.1 001 creating CD degree course in Jazz music
According to Stockton the following is a list of subjects which he believes are
necessary inclusions in such a course:
.:. Theory (usually referred to as Jazz Theory or Theory of Jazz)
.:. History of Jazz
.:. Jazz Ensemble
.:. Improvisation
.:. Arranging and Composition
.:. Music Technology
.:. First practical instrument
.:. Second practical instrument
To these a number of ancillary subjects can be added, such as:
.:. Courses dealing with the Business and Commercial aspects of a professional
career in music (Business administration, Music publishing, etc.)
.:. Music education
3.9.2 An outline plan of a four year course
YEAR ONE (Two semesters)
.:. First instrument
.:. Second instrument
55
.:. Theory of Jazz
.:. History of Jazz
.:. Ear training (this is sometimes presented as part of the Theory of Jazz course)
.:. A general music course which might include Calligraphy, an introduction to
Orchestration or Jazz Ensemble, History of Western Art Music, Ethnic Music, etc.
YEAR TWO (Two semesters)
.:. First instrument
.:. Second instrument
.:. Theory. (including ear training)
.:. History of Jazz
.:. Jazz Ensemble
.:. Improvisation
.:. Introduction to Arranging and Composition
(To the above, electives may be added.)
At this point it is advisable to allow a split in direction so that students can choose
between performance related music or music education.
YEAR THREE: PERFORMANCE (Two semesters)
.:. First instrument
.:. Second instrument
.:. Theory and Ear training
56
.:. History of Jazz (This could be discontinued)
.:. Jazz Ensemble
.:. Improvisation
.:. Music Technology
YEAR THREE: EDUCATION (Two semesters)
.:. First instrument
.:. Theory and Ear training
.:. History of Jazz (This may be discontinued)
.:. Jazz Ensemble
.:. Arranging and Composition
.:. Methodology of first instrument
.:. Music technology
.:. Music education
YEAR FOUR: PERFORMANCE (Two semesters)
.:. First instrument
.:. Improvisation
.:. Jazz Ensemble
.:. Arranging and Composition
Second instrument may be continued and electives included.
57
YEAR FOUR: EDUCATION (Two semesters)
.:. First instrument
.:. Theory and Ear training (This may be discontinued)
.:. Methodology of first instrument '.
•:. Music technology
.:. Music education
Electives may be included.
3.9.3 Suggestions on the course compilation
Any instrument should be offered as a first instrument, except the oboe, bassoon or
French horn. These instruments do not lend themselves to Jazz music easily, but
are satisfactory for second instruments. Preferable instruments are the trumpet,
.trombone, saxophone, clarinet, piano, bass and guitar. In the case of when a student
chooses a non-keyboard instrument as a first instrument study, a keyboard
instrument should then be required as a second instrument. In the case of
saxophone students, a possible inclusion of the clarinet and or flute as extra subjects
is recommended.
The presentation of courses in Jazz music history differs somewhat between various
institutions and lecturers. A current much favoured approach places more emphasis
on the aural recognition of important artists and styles, with less attention to the
socio-economic background factors. Jazz, being by nature an oral (aural) art, seems
to lend itself to this type of approach and it is certainly acceptable in most situations.
58
However, this approach leaves some concern for those students who's interest in the
Jazz art form might be more academic than practical, or less serious, but who want to
gain insight into this music. Stockton's personal belief is that students should have a
good grasp of the many factors including the socio-economic, which led to the
creation of this vibrant music and which shaped its progress to the point where it has
today become an international 'language'. He therefore tries to present the history
course in a way that gives equal importance to both style and performer recognition
and historical background. In general a two year course in history of Jazz presents
the student with enough knowledge in this field, but if felt necessary, the subject
could be continued into the third year.
Improvisation and arranging should not be introduced until such time as students
have gained a good understanding of Jazz theory. Consequently Stockton believes
that they should be introduced in the second year of study. Basic theory includes the
following:
.:. the understanding and use of the system of chord symbols used in Jazz, together
with their associated scales,
.:. chord voicing, function and resolution of chords (functional harmony),
.:. chord substitution and elementary re-harmonization, and
.:. understanding and use of the numerous scales (pentatonic, blues, heptatonic,
octatonic, synthetic, etc.).
It is also every important that the student be introduced to the subtleties in Jazz
styles, including phrasing, interpretation and notation of Jazz music and be well
trained in these before attempting to improvise or arrange.
59
3.10 JAZZ. TUITiON AND STYLE
The extreme commercialization of all forms of music has become a matter of great
concern and Jazz music has suffered the most. The overwhelming propagation of
sub-standard music by the recording and broadcasting industry has left a large
audience totally unable to exercise discernment in relation to artistic endeavor.
Stockton states that he has recently became aware that there is a greater following of
Jazz as an art form in Europe and the Far-East than in the United States of America.
Unfortunately in. South Africa the term 'Jazz' has taken on politico-national
significance. Resulting in an hybrid form sometimes associated with the term
'township'. Unfortunately the so-called South African Jazz often boils down to
monotonous repetitions of extremely simple harmony (I, IV, V), combined with
lengthy repetitions of melodic material. To Stockton the concept of national styles
within Jazz music, such as South African Jazz, Italian Jazz, German Jazz, Japanese
Jazz, etc., is rather silly - "Jazz is Jazz is Jazz! Jazz was born in America and the
great names in this art are still largely American." (On this issue Stockton is
adamant).
Personally Stockton feels that he would have art without political influence, although
not opposed to a degree of nationalism - as long as the result can be termed artistic.
Stockton feels that the serious study of Jazz music would benefit all music students,
whatever their musical leanings and if taught correctly can be extremely beneficial to
our future musicians. Evidence seems to suggest that tertiary level Jazz education
will increase and become part of music education in general.
60
Seen against this background Noel Stockton did formidable work at the University of
the Orange Free State, which made him one of South Africa's leading Jazz lecturers.
Among his colleagues he is known as a man with high standards when it comes to
teaching and the high standard he sets for himself is reflected in the work of his
students. His knowledge of Jazz, in both an academic and performing category,
made him well known on and off stage. As an arranger he reached great heights and
wrote vast amounts of arrangements for almost any type of ensemble or orchestra.
The next chapter will deal with his serious compositions as well as a selection of his
most important arrangements.
61
CHAPTER 4:
[D)~SCijJSS~O~OS~ OW~ WOR~S A~[D)
A SElECT~O~ Of ARRA~GEME~TS
4.1 INTRODUCTION
Stockton wrote five serious compositions at a later stage of his life. They are the:
.:. Concerto for Stage Band,
.:. Adagio for Strings,
.:. Mangaung Suite,
.:. Conversation Piece, and
.:. Sol y Sombra Suite .
These five serious compositions reflect musical maturity as well as his ability to
incorporate extra-musical ideas in his creative composing. Stockton sees himself as
firstly an arranger and then as composer. He wrote a vast amount of arrangements
during his life. For the purpose of this study three of the biggest arrangements were
identified and will be discussed. They are:
.:. South African Folksong Rhapsody NO.2,
.:. Peer Gynt in Jeans, and
.:. The Unforgettable Nat 'King' Cole.
The above-mentioned works will now be discussed through a procedure of
descriptive profile-analysis.
62
4.2 CONCERTO FOR STAGE BAND
The idea for an extended work for stage band originated during the discussions
between Noel Stockton and Mike Campbell, associate-professor at the University of
Cape Town in 1990. The Cape Jazz Orchestra had been formed under Campbell's
direction, consisting of the best possible players in the Cape Town area. After a
certain amount of discussion the work was commissioned by the South African Music
Rights Organization (SAMRO) and the score was completed on the 23 March 1992.
The first performance took place in the Baxter Theatre in Cape Town in 1992.
The standard instrumentation for a stage band was used, consisting of four trumpets,
five saxophones, four trombones, piano, guitar, electric bass, drum kit and extra
percussion. The work is in three movements, marked Allegro, Adagio-Vivace-
Adagio, Fanfare & Allegro.
FIRST MOVEMENT
Exposition
The first movement is in modified sonata form and begins with a repeated A-flat on
piano and xylophone (or vibraphone) in 3/8 time, indicated as vibrant and energetic
on the original score. This repeated A-flat continues under the opening theme
presented in unison by the trombones, accompanied by a complex rhythmic fanfare-
like figure in the trumpets (bars 1 to 13).
63
:;. ;?
&~bJ G ,I IL (J r b 4 f ~ r J f crc (~ ~ ==i
(Introductory figure)
While the xylophone and piano continue, the saxophones introduce a staccato figure
leading to a repetition of the main subject played by them, supported this time by the
trombones playing the same rhythmic figure, previously heard in the trumpets (bars
14 to 28). A short (two-bar) figure heard in the saxophones (bars 19 and 20) is now
heard in the piano and xylophone, repeated immediately by the trumpets, and then in
the saxophones (bars 29 to 34).
The first subject is heard once more in unison with alto-saxophone and trumpets,
supported by a duplet counter-melody in the tenor-saxophones and first trombone
(bars 35 to 42). A bridge passage ensues up to bar 64, consisting of previously
heard material.
64
~ .3 3
.;"(\ I rTf n hO n=i I -' , r-T ~ r---l
'E "2 1 1
T 7' -/ '4P -, i' '" '", .~ , -, 4 " "' ..~ ..., -, ',Y; 'P -" ",j /) ~ ,. Jl 'l:O ttl P
....-) (7 1 , ,1 ... .lt ~ , /) /) d Yl ~ "..../ -0 /,,. tlr~7 "I ilr 1-'1 I(
.>- '> > .? » ?
I /
I JO ..> .,.
r'\.-- -,
h - ..... - f'.... ..v -# ....
1 \.1 -:J , 0'7-
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A 1- ;;;:;;., t=: -I ==« ~ l-l ~I ~ - """;jI ., I I ,.1, 1 1 I7_ cA é1 lit A -", .q '" ~, tt ttl al dil ~- dil ;,!. "" () ~'" "".-,"-,, JIl ,. ....Y 1:- ;I 1114' ,p' A ~ .dl ~ "-".~ .I " .',J e? ttl d T} -:;'-.tP1 , ill ) ! '"__/ H .IY-.',": "'" ,,., A "" A .;\'" i,f,.-.tP d " A ..: '£,.. ""I.". T '" '"" ", el he? , , ,'1 '" lA,'> "I
., .,," ? "'- I..... "- 1
1'-' er ,
/ 19
~ " ), f' ,t:J IJ t7<, V \ "7 > .... '1 ., ,.V
(First subject and accompaniment figure)
(Subsidiary linking theme)
65
. _.-. ~-'.~ _.-_ ..- ._~--_.-----'" .-- --~--"--~.-
.\ ~? .~. b i -, ~;
I} i:,:> .• ,.,
; 1 , ...l. I;f .
7'1 .i .... ii' ,., -
r?"\ 1..1 ,' dl .II I, II,
~ 7 ri"l '" I~.if ~I( "
/ T I ~ 1 1 .,'7.:;- 7/C vnPrrs '
/}IJNo/0 I&il("HJI-, ~ ..I
,,. /
I .
',( \
il.-n J4iJ. , "'\ I \ -~, .
....
-... d
,
/ " ;,
" ...;... " \ I I '
c ___ --'"~ 1 " ," \..,. I .,..~~ _,I'I \ I ""\''/"",\ : 11 10.- 11 :i""__" lMV I , :i . ' _I 41 ~I I IJ, , J , ,I I !1 I,. - I .J.
ETt::. ,,0 -_
Iq .c,w...u .I~~' _"tl- • -, '?', ., ~, b~'.
~....... : I -I
'--'I , "::: .-,./ ifI· : -....;;:-.-
:::;;;:- I \ I
I
(Bridge passage)
The second subject begins in bar 65 indicated by the letter 0 on the original score
and features the saxophone section in close sectional harmony with the fourth
trumpet (Flugel horn). The time signature is now 4/4 and the style strongly swing.
This section lasts up to bar 76. At bar 77 the swing style is dispensed with and
subsidiary theme is introduced by saxophones and first trumpet, rising in intensity
and pitch to bar 83. A very brief codetta in the third trombone and electric bass
prepares the development section starting at bar 89, indicated by the letter E on the
original score,
66
"'~ SA)('OPHotV~ -~
tT;: oh
_-_., ...-., ,- --- ...... .,'.
.. ' .-'-- -'
-,---~
I" .1
r-3h~
J b f '\
. > > '> »•
(Second subject and subsidiary material)
Development
In the development free improvisation takes the place of the normal development as
experienced in Western Art music and begins with free improvisation by the fourth
trumpet player, often traditionally the main brass soloist in stage bands. This
improvisation occurs over a four bar section which is repeated four times with varying
background figures. At bar 93 a complex build-up of volume, texture and density,
leading to bar 101, indicated by the letter F. Here a short bass solo is introduced,
67
followed by a unison figure (bar 106 to 109) by trombones and electric bass. At bar
110 a further complex fanfare-like figure is again introduced by the trumpets and
leads to bar 117 indicated by letter G, at which point a free improvisation for first or
.-~. /',
second alto-saxophones follows. This continues to bar 135 with various
accompanying figures.
3 3
-, 3 I I 3 I~_.. ti I ril -I 1-, rTï 111 ~I Ii ,-r"l -Iv
r -I- :. , I in- , ;1..'.1"'
\.. -_/ ,. ..... , lVI
'I ~ .. V ..J- O' ..,od-
f """
.--
- .....
'I h . ;
.NJ '_/ .._,
....
I
<, --
_.- (Trumpeting Fanfare figure) .~..
_._ft." •
A short build-up follows that leads to bar 141, indicated by the letter H, at which the
time signature changes to C (cut-common) which effectively doubles the tempo and
allows for an intense build-up of sound in which the original first subject is referred to
reaching a high point at bar 159, indicated by the letter I and the introduction of the
3/4 time signature. The next section from bar 159 to 175 reduces all activity and
sound to an absolute minimum, finishing with only the sound of cymbals, followed by
a solo piano (ad lib) cadenza. At bar 177 the xylophone introduces the repeated A-
flat, bringing us to the recapitulation.
68
Recapitulation
The recapitulation starts out exactly as in the exposition, but the second subject
group now reverses the roles of the brass and saxophones. A coda, starting at bar
199, with a time signature of 6/4, featuring the first subject and trumpeting theme,
brings the piece to a powerful allargando ending in 3/4 time.
SECOND MOVEMENT
The second movement is in Latin American style and has the subtitle Song for
Drummers Past. This in memory of a number of drummers with whom Stockton
worked over many years. Stockton used ternary form. The movement starts with an
introduction, shared by piano and clarinet (or soprano saxophone) and is marked
Freely, malta rubato. This ends with a fermata after which an interestinp rhythmic
figure is introduced by the rhythm section in 6+2/8 time.
, li .,
\'"""7 Il'
I v- 1-..
':.J p~~.. ~, ~_tL v_-.?- • -.?- -.L..,. P» '-- (
,....,- »'" ~ "J .,r
/.l '" 'l' -.J • \.;I --,,-" /) r'') t!J~
L/ '-' V
" <J 6). » b-.?-
(Accompaniment figure)
69
,,--------._
• Jf>
-.._ ..
c:- .\.3..:./ Fl,..\)
Tl-IE. H£.
-.. " ......... ."
-
(Main theme and subsidiary theme)
A cantabile theme is introduced at letter A on the original score, supported by the
continuing rhythm. This theme is presented by the solo soprano saxophone the
timbre of which enhances its Spanish flavour. This theme lasts for fourteen bars. At
the letter B this theme is repeated with slight variation, accompanied by trombones
and baritone saxophone, fifteen bars in length. A sudden intense build-up of sound
follows for two bars and at the letter C a subsidiary extremely forceful theme is
70
introduced in the brass with a very high tessitura, lasting for fourteen bars. At letter 0
on the original score, the solo trombone returns to a decorated version of the original
subject and the section is brought to a gentle close on an extended f minor ninth
chord.
The next section is marked Mambo/Sa/sa in 2/2 time and is introduced by the Latin
American instruments and drum kit. This lasts for an indefinite period after which a
typically robust salsa passage is introduced on cue. After four bars the key signature
of E-flat is introduced.
,.. ,
, "
J 2 3' r, 7 tt - y f 9 [,, 1 . j r b
Jf " " > '--
,'/!
'1 ~) =+=
~'.
-)-,~-,..,....,o - 1y"(
, , ..r\, I, I.
" '. ,
i'--" Z' j, I_.J
II(.LJf-I"'~"'5.
'\ :J!f
~'
IJ.lf ~ l:?o ~~
A Il jl ~ --,
I -" 0').0 -...,, I" \,
1 / ..... r
'" JJ.- '".._/ ]lL ;:;
114 I I ~
r -;..il/ .. .~ ~ .P".hG) ;.- vr
- '2. -l. .....ï="J/ ') ~-élf ......
\- I, ,;_/ , '>"':.-
<,
(Sa/sa introduction and Trumpets)
71
Latin instruments featured here is timbales, cow-bell and various hand drums. This
passage lasts for twenty bars and includes interesting bell-tone effects in the
saxophones as well as some interesting polyphonic effects in the trumpets. At letter
F on the original score a sixteen bar passage which is repeated as required is
designated for improvised solos, after which and on cue a short passage of bell-tone
effects reduces the tempo to the introduction of a linking passage in 4/4 time,
returning us to the original themes which then proceed to a short ad lib coda and a
very gentle ending.
THIRD MOVEMENT
Fanfare and allegro
The third movement opens with a fanfare, constructed from Jazz themes which are
well known to serious Jazz musicians, taken from the music of Clifford Brown, Joe
Zawinul, Charlie Parker, Thelonious Monk and Duke Ellington.
o
&5$
®
9:12 B r r + f Jog ZA 'N!tg Q CO;
(Fanfare themes and their original composers)
72
!ol
@. -J (~!tV 9 - ~ R.QU/V7) 1'1,l)N 16 Il r:ê3 i CJ ='I f r f i
............-
J_~J ) \ ), LJ{Il '1 I r 6 t1 1 Q6 r'-- f
(Fanfare themes and their original composers contd.)
The allegro begins with an extended free drum solo of undetermined length, after
which the drummer sets the tempo with four bars of hi-hat rhythm. The form of the
allegro is polyphonic like that of a Bach Invention. The subject is introduced by tenor
saxophone and first trombone with a counter-melody supplied by the alto saxophone
and first trumpet. At letter A on the original score the subject re-enters, played by
alto saxophone and first trumpet, while the counter-melody is given to tenor
saxophones and trombone. At the letter B the subject re-enters again in the key of d
minor on alto saxophones and first trumpet and the counter subject on tenor
73
saxophones and first trombone, while the remaining trumpet and trombones supplies
a rhythmic background. This section builds in intensity up to letter C at which point
the g minor tonality is re-introduced and a linking section of twelve bars prepares for
the entry of free improvised solos for piano or solo guitar or vibraphone. Again this
solo section can be indeterminate in length, depending on circumstances.
»
'IJ :/A.f"A .., I I ~.• v J. --
OJ
"7 ... .-1'£.../
f'lft r I
j .-§M-~t; IbJ ~.-.f.-,l- Uf,-~:t=.J. - ,ï - ~ _,
,
'. f\ , , ...
""L'rY -;;;; " '>7' .:;I . '7- :...I' \) T I I V I. .'
~
_.I::,_ !: ~ ~ ..., I
IJ ~_ 'f'
A f ".- ,
1~ \ "Il / ""
j S:11J(L)PH(),v~
t. U: f).... .-~ ~'1 >+I •.....-- 'T-'I"" •
,v . . c:
<, 1 . I) i I i J I \ '-(9- I .... ~-&-
(Elaboration at C)
A bridging passage in 3/4 time is introduced between solos and is based on the main
thematic material. At letter E, after the solos, new material is introduced, increasing
in intensity and texture as well as density, leading to further free improvised solos for
tenor saxophone or trumpet.
74
T;:I/J.m,..:r~.zj"" ,.
~~f ~'rT p:;f Tir I 1 r r
IA\ ~ -r=:':
, ~
..J. ...
p AI..;oSA;o< i
ïeJJf~1( :1.
Z NL '(Rl; I1I"IfT"
<JI'rr'
(Subsidiary material at E)
After these solos a link, consisting of new as well as previously used material brings
the work back to a reference of the original subject at letter 0 on the original score,
this time in the key of f minor and modulating to the key of c minor at letter H, where
the original subject is re-introduced, although differently orchestrated. The piece is
brought to a strident end with material heard 8 bars before letter F on the original
score.
75
/",,, l 1 J b,4-,-9\- , 1\ '"'I ,1 sJl ;--"'I ?~+ rt
( ,/ , .... ., .1)
, -. tIJ lP
,
1'( .8 :0 "> ,. ..,~ 1 il,.
\.,1 1 ill lo, .:A ()
f7f' ... -v~ I"I, (
-/ ? ' il ti - as ;
> -: .1) J <-
A .» I~ ( J" IJ ( 1"1 Po , 1
" I) '--' I.. .J. ~ I . 1.1 1 I) tP" J ~S '1 ? _i, \ 13£/}
II S.........' (bL 0 .A. .e: Q, ,~~ + ,- )..!!..~ -
\ . ~~~ ~ -+,
'~~ , ~7+7-9- l~~ ~~ ...-.. ~, ,::!2 ~
ï~ , " ' ...1/,', I, A A I:., 1 " 1 1 c i'\.il ~ <: ~ _ti' ~' ( 1 I'
'1,7 n' '= 1 ( 1 ; ./ I
'<. I 1 ......... 1 .»......,.- /-' , '_ /v'
r "'"
! .
k;6
I '
1
1
(Subsidiary material, 8 bars before F, also used as concluding material)
As far as Stockton knows this is the only work of this kind ever produced by a South
African composer. It already had three successful performances and he sees is as
one of his best compositional achievements,
To follow is a discussion on the Adagio for Strings,
76
IJ' •••• -- ~,.,--~ ••• ~ '-- __ "J>' __ ~. -. _ .• , .0" .. -- .- _" _"• .._.- ,...~' ' ~ -. -.,~--~ '-.- ._ -....... -- _ -""_'_- - ----
4.3 ADAGIO FOR STRINGS
The Adagio for Strings was completed on the is" of May, 1990 and had its first
performance on the 9th of November 1990. It was performed by the Consortium
Musicum of the University of the Orange Free State, under the direction of Derek
Ochse. It was written after the tragic death of a friend and benefactor, who had
subsidized major symphony concerts in Bloemfontein and Natal, as well as concerts
by the Noel Stockton Big Band. He spent a great deal of his own wealth in the
promotion of both classical and Jazz music. The Adagio expresses Stockton's grief
at his sudden demise. It is intended to express this sadness to the fullest and he
hopes that it captures these feelings adequately.
The work incidentally is the same length as Samuel Barber's famous piece (Adagio
for Strings), but Stockton would certainly not attempt any further comparisons
between these two works. The work is seventy-two bars in I~ngth and takes
approximately seven minutes to perform, and is scored for a full string section.
The bulk of the piece exists around two main themes. The opening theme is
introduced by the solo viola, but is completed from bar five onwards by the solo
violoncello. This opening theme embodies the vertical structure of so-called
Gershwin-chord [(C-E-G-Bb-D# (Eb) symbolized as C7 (#9)], containing both a major
and minor thirds in itself, potentially a bittersweet characteristic. This theme is
fragmentized and eventually interrupted by the second important theme.
77
., SoLO Vo._ .
\ I
""- - -I .l-
X /'::J II Tt
\. J L ~ Alo t. floO_-P ~"\. .. -1 J v. IJJ)) ~-==:::::- -======
I /""\ ~ Jl
1'-' .....
\ J Jl
\. I.
I
l\ I.
( Y ..... ~ II1\ _litll I'--""" .., ....... 1'\.....,/I V....., 7 ,
) x 1 ---= '-- ~"O~lO («.
L ~~ }+-'~~-P-h~....,. I TJ ..,.. I-.
~
~ , ,. - '-1-
.
V , _, lt . ." Cf..,- '11 -"v' ~ h'r <..lo. ~
LY. ._, b Z, tI- -o-*~ ~+ v...- z_ ...-&- 4-
- r--ï l <- ..Jo 'I ..,.... " ,1 <,t:..1
""'1'. ° lo Il r~tI-1' ..(,~ 1:.01 ~.I / ~
......... i- II ;'I I T
(Main theme)
The second theme can be recognized as being derived from the famous Jazz piece,
Basin Street Blues (originally written by Spencer Williams), given a grotesque
character by modification. Obviously this piece was a favorite of the person
mentioned above, but is presented in a distorted form. The work ends as it began
with the main theme presented by the solo viola and solo violoncello.
To follow is a discussion on the Mangaung Suite.
78
'"v /_ ~
/I t.I_ ~ Cj ,... -_., ., t'//, /, I
u "-L I'. <,
) CJ J LJr'/' \..:.. 7 7- ~~~bf~ ~%~1 J/'T' h ..... l -r- ~
I ;-.. / ~ _b p _fil . v 'J tp -""l -,
J C7 '" c I'1 Q_ - '----I ....
- I"'" /
\. 1'-" /. .'-' I
I- '--- 0
l\ -.. :"""1.
'/ -
,--.... - -
,.. i'l
4'
i' :;., 1'1' ~ A r:
<,.." ._. ,. II ),. I< tV
\ "---(.I _:::-=:- (Vo..) J- e> () YJ_ 1'-./'l_ y .-
~ jJj)
-
. PI.1f. hok ~ pII '," . III I,I1"\ lo" "
\,,/ / P , ./
V >J V , 1./ v,') ~ ~
./11 -rt ~ II~ i~-;- ~I.- . ..f!.. ~ ~ .e I
_1. '" II tI> ,lA {I -r
~ 'd 1\,. .II
Y -L I~ .Jl \I" '\lo VI '
./ ~; ~ L .tt A" , -'1' 6 0'
p
'uu J:bv rril2.J...O .1" '( } l' -&-0.".
_. J S",.g PI'II '(o: __ -t _lj ....A h 7 &.( I" ':"., ',1 ........,A' 0' IJ' ...{./ l tV"'" I
'-'" 1 '--' V
,;O,P V v 2 ;)~, 1'" "r -\;;..0- 0'
,..... ,. b" h , ~p l-'I PI 0 l' I ,
..,/ h "
I ./ II 0 " ~ p
V -.:.j V ........... ' t/ ~ V. -f ...
(Second theme. First fragmentary appearance in bar 35 and second fragmentary
appearance in bars 49 to 51)
79
v
..-...
}. \
,\/ - ,I -I
1"'\ --II.. t? , , - I
./ ~ I/) _'1
\
"- , r" A' ,-fi "': ''
...
of ,
\
~~ f~!!J~' % 1/
. r-.,- , It /I'/ ' '_'''., -,.
I, LI..': - ¥ ~ fJ "', CJ../ " - I -;II ,'j ,; ,
! -_, f ~
i /1=-.
'"J
I
:.'.".'..t.-:- , I ,
,".
I ;'-'" I , I.
-, d " e .... • ,.; l'l. ...-i.<; '- '/~ "
(Third appearance of the Basin Street theme in bars 61 and 62)
80
..•..•••• '-'1' ' •• «,' -.-.- __ ..•• __._ .' _ _,- •• __ ;••_' M. _. __ ,..._', __ ,_-..,.,""._ •. _, _._.". ••_,. __ ._ • ...- •• _ _, ,_ .. ._~_. . _ _,._ •• ..,.__ ._._ .•. p" _., ..•• '. ' ••••••••
4.4 MANGAUNG SUITE FOR SYMPHONIC WIND BAND
During 198? an organization came into existence with the aim of promoting and
expanding interest in Wind Bands, as well as coordinating these efforts on a national
level. The organization was named SAASBE (South African Association of Bands &
Ensembles) and was largely the creation of Brendan Ie Page - a brass teacher at the
Musicon. At this time Stockton was given a commission by SAMRO to produce a
small piece for symphonic wind band. A three movement work was intended which
would contain elements of traditional African music. These plans were thrown awry
when it was suddenly learned that Bloemfontein would have the honour of a week
long visit by world authority on wind bands and foremost conductor, Dr. Frederick
Fennell, who would take part in the first National Wind Band Festival organized by
the SAASBE. This led to a request from the organization to present Stockton's then
unfinished composition at a Gala Concert in the Sand du Plessis Theater in
Bloemfontein on the 9th of April 1988, to be conducted by Fennell. This left little time
for the completion of the three movements and so the work was presented as a two
movement suite.
FIRST MOVEMENT
The Hill
The title and inspiration of the first movement The Hill resulted from walks Stockton
would take up a 'koppie' close to his home, where he could 'escape' from the rush of
everyday life. Sitting on the top of this hill he would look to the mountains in the
distance (the mountains of Thaba Nchu, a town situated about eighty kilometers from
Bloemfontein) and admire the changing colors as the sun descended. However,
81
"'" --. -,", -:- .-~ ." -, -_,..-- .
when he lowered his gaze he would be instantly brought back to the comparative
ugliness of the city. The music is intended to portray this discrepancy in a rather
simple way.
An opening modal theme stated by die soprano saxophone is supported by an
accompaniment which expands from a single note to a major ninth chord and then
contracts. This accompaniment material is heard at intervals throughout. The
Zephyr motif appears, followed by the solo trumpet which introduces a more somber
theme over subsidiary polymodal and isometric figures. After a climax these
elements will again grow 'relentlessly' in force, ending in an octave statement by the
low brass. From this point on a gradual return to the opening material and a final
statement from the soprano saxophone.
lENra ..._
~ 0
,.. ...... .. t? • ~~ ~ ~, ,
.JC;! ..
,
Jp I .,
-~{-~. L>
V -
\'\ "...._ t
.IJ.
- \ lf "r. f .~ ~:- '.-? rI
...JQ.. ,
(Opening theme, first movement)
82
,
1'/ •
\ (
1 ?(
1
(Zephyr [Breeze] motif)
SECOND MOVEMENT
Corn Grinding Song and Knee Dance
The second movement, entitled Corn Grinding Song and Knee Dance, resulted from
an attempt to introduce an African element into the genre. Stockton listened to
numerous recordings of African music supplied by the International Library of African
Music (headed by Andrew Tracy at Rhodes University) and finally settled on the two
main themes. The two main themes were recorded at the Maseru and Tebang
districts of Lesotho. There have been numerous attempts to introduce elements of
African music into symphonic Western Art Music. So far it is Stockton's personal
feeling, that most of these attempts have not been very successful.
The pastorale setting is suggested by percussion instruments and this leads to the
chant of the lead singer. A descending bass figure adds interest entering at irregular
intervals. The answering phrase (repeated continuously by the rest of the working
group) gives rise to a major seventh chord which, in inversion will feature strongly as
83
the music progresses. A grinding effect is also heard in the clarinets, tenor
saxophones, muted trombones and percussion.
(Corn Grinding Song)
After a transition the knee dance theme can be heard, which is sung to a 3+3+2 over
8 going to a 3/4 rhythm. A 'fugato' treatment and episode, in which the major and
minor seventh features strongly leads to a trumpet cadenza, suggestive of the 'wail'
('ululation') of the lead singer. The Knee Dance chant is re-established and
continues to the end when reference is once again made to the Corn. Grinding Song.
~
J; Jf e 14
p
\ ) II ip I
P
"'-~
(Knee Dance)
The next discussion will be on the Conversation Piece.
84
4.5 CONVERSATION PIECE
The piece resulted from discussions which Stockton had with Derek Ochse in 1996
when Ochse inquired if Stockton would be interested in writing a piece in light vain for
the Odeion String Quartet (resident quartet of the University of the Orange Free
State, Bloemfontein). Stockton decided on a suite, because that meant that the
different sections could be short and in different styles. They mentioned their
intentions regarding this work to SAMRO who agreed to commission the work. Later
Stockton decided to include the clarinet with the string quartet and indeed the clarinet
became more important as he sketched the work. Stockton wrote the work with
Heinrich Armer, a colleague and clarinet virtuoso, in mind and the work is dedicated
to him. The first performance took place in the Civic Theater in Bloemfontein on the
J'h of February 1997. The piece was well received.
The suite is in three movements, the first is a Samba, the second q Shuffle and the
third has the title Streak, with the intention of giving a humorous twist to the piece
itself. The three movements are connected by short interludes which are called
'Conversation l' and 'Conversation 2'.
FIRST MOVEMENT
Samba
Stockton made use of harmonic extension in the string parts and as its title suggests
it is an attempt to create a Samba-like rhythm throughout which is also the most
important feature. The clarinet part is fairly florid and rhythmically interesting. The
brief 'Conversation' which links the first movement with the second, is in 3+2+3 over
85
8 metre and is rather polyphonic in its nature with the string players having to
negotiate some tricky work moving from arco to pizzicato at times very rapidly.
J'IOO ~\ + ~
t ?l@ft}9êtJY \ i:t~mj r~~f~r~
J) ~
(Clarinet opening theme)
86
J
,
~ IJIo 122 I I
IJ or ,IJ> ...
/ " p ""' A ./I I'........._ / ~ ..,..,.
-c "IJ ,/ I""'"./ /
) ,"P.J%
? ~~ I---"f'-_.I
r-/-J.-"
---- t--~
/ If -
I .,,/ .- r=-=I? ,....CC. ./#> lO ---, .;Jl>,-lP I ,.- -V ~- ~ ::-----..__r._y ¢- ,
or ~ ..,. += "tf'--_ ~Q id ;)t. _"_A ~ _l IJ , - ,4L'
I'Ll , , , U.r: ;~ __l I :.r> ..)J jp' ....
-I/, - 1"- '_0/- '1 - ----- - / -./
___:hJl,_ 1 :
J1~ 1,.-,1'1- ~ r_l
(' A "
rt "">
~ ~ I.,
i !t? ;> .,. h
I ./ t"I _, -\.
Jf ... ..-
-=
./ ~ I
Q -
11:;'). I ~ ""
..
.T '-
? ,..-- i'
/\. .. ./'I(} bf' -0
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J ~# - / I'h
I V
I
="""~:~ .-_ .. '_
~ ".--...
1 I'' ", p ~11 i ~
,--.,.
r ::==::.,f
---I- IT r i
(Theme at '0')
87
ID
.. o~ ~~
I
,/, -I-i
»rr: ., ï o s: I> 0
'J' , , I ~ I I> ()~ P ·d ',,p , é)f, I
J ! ~ 1'1 " lo,.!1 I) 1: 'I " ."., Q ;-11 P ~,,-./ ~ i1 'it
\ ~I (I II
~ ~I "" \Vr \ \ lf \ t'lr
1/""\ • Ib" " p T"
~
li '(J I> I
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/ _.. --
<;» ...
1é/ ....---.......-- _......1\ Cl k J t~EI f ......~. \/' b ~ (,I ,-"I ,(I ___ ~ 7"
~ lY ~ ::00_ » '" I ,...__
'f >1' ,Ij
/~ " " , ""
7 e1
.Jf ,~ ~ 11 ,I h
'\ ~
" .., r;:v "~",' 'j, -iV, , 7.11' ~ .A~ ~~ I \ br il ~ ~----. " .s,: ' . "',1;., •\ 4-'"t) .,!.. II :, .( '-}I .r>.~ , li ,
.._, -If' .A
./ I I ,
(Tutti af bar 13)
\ ;
t !Ê,1j J J1 1 ..j 7;j• --r I<J ..-........... %lo....-'
(Theme of 'Conversation NO.1')
88
SECOND MOVEMENT
Shuffle
This movement as its name implies is 'an attempt to create a shuffle rhythm which is
similar to what can be described as a boogie-woogie rhythm. It is always quite
difficult for classical players to re-create so is written in 12/8 in order to get what Jazz
players call the 'swing' feel. The clarinet has a number of answering phrases which
are intended to create a feeling of an improvised line. Interest lies mainly in the
rhythmic side of things and not so much in the melodic.
,...., 'V n n
.., If ~ - i r---,"'i I Ir-,· ...... J ,p
/-. ;.. » , ..._ r-i L..-- Q, ,
I'r--. n / '\ "ill 1/, '"~ ,h v_j (' 'r "
1 d d "-"- I I....-..I f tb~" f--..~- , 2z; • )~ _,,_ A( ;"
J ""' 0 ti
; - -
..... £
, :
./ / ,
<, .x '- , ) :'I
(Opening bars of second movement 'Shuffle' as indication of style)
89
'Conversation 2' which links the second and third movements is based on a typical
Jazz-like harmonic sequence, starting with the solo cello announcing an eight bar
theme which actually becomes a counter subject to the main theme which is
introduced by the clarinet in bar 10, at which point the counter subject is taken up by
the first violin while the cello supplies a base line. All of the instruments produce the
counter subject or the main theme at some stage or other. At letter B Stockton
introduces the clarinet playing a very florid line closely resembling a improvised Jazz
solo over the aforementioned theme and counter subject. This second
'Conversation' is rather slow and in a minor tonality which provides contrast with the
third movement.
I
0:' ~O
') j J. .\ ")
p p {-& _./ -.:!>-'- ~l.> -
.z> ~. -
b~
(Main theme of 'Conversation NO.2')
90
Fr r r .. ~SA
ar'
.1 "'
'tl u \
(Counter theme of 'Conversation No.2')
THIRD MOVEMENT
Allegro con brio
The third movement is entitled 'Streak'. It is written in 2/4 metre intended to be
played as fast as possible and presents the string players with considerable difficulty.
The tempo is dependant largely on how the players can cope with these technical
difficulties. The piece is bright in nature and brings the suite to a happy conclusion.
91
~t ;:;.- -:::;-'11"-
-- ;If, . " -. t'.?/I I A.Y I'[ I;' /' ... 6\ ~If ;;., ..A... t.i .7._ ~ I" ,....I.. f.J.,.v~;:::::=:;--c ..:ft-__./' -
~ 4-J,[,d- of-
..p- ~
~ Il,. .!-=t-
I' .if" IJ"' _,., o ....
() ,
\.../ ,~,#f" ; I ''jI / i.....-~ c I> <::_./ ~ ;r: y ., ;' II'
".,- .lJ.. -e: '-- ......",..-./' - \~
(Third movement, Allegro con brio, theme at tA')
(Third movement, Clarinet theme at '0')
The next discussion is on the Sol y Sombra Suite.
92
',,_ ...•.. , _':'J.,..-;r.-._-::'., ...... , .. -"~:.r:r-~~ ....._.._ ....-... __ ft._~ ~_•• ·_·--.- •.----.-- -__ .. --------_ ... -
4.6 SOL Y SOMBRA SUITE
Stockton states that one of the most pleasant experiences in his life occurred when
Cobus Rossouwand his wife Sandra approach him to write the music for a
production of Die Goue Kring. This brought him in contact with the author Uys Krige,
an exceptional South African, as well as the renowned Anna Neethling Pohl. In 1999
when Stockton received another commission for a work he decided to create a work
with Spanish influences and this provided an opportunity to honour the name of Uys
Krige and was written in memory of him. The work bears the title Sol y Sombra Suite
which is of course the title of one of Uys Krige's well known collection of poems and
articles written during his sojourn in Spain. With this piece he took the opportunity to
create a composition for a long time friend, American virtuoso saxophonist, Douglas
Masek as well as his wife Jasmine Antonie, an expert in Spanish dance.
The suite is in three movements with a prologue. The movements .are Paso Doble,
Canto Janda and Bulerias.
The suite begins with a rather somber Prologue, which exposes some of the themes
which will be heard later in the course of the piece. The Prologue is short, merely
intended to set the Spanish tone of the whole piece.
The Prologue is followed by a bright, stylized Paso Doble, which is 'almost' in rondo
form and the main theme introduced by the clarinet is 'almost' a twelve tone row.
This Paso Doble is of course a type of march, associated with bull-fighting and is in
214. The second violin and viola have a certain amount of difficulty in the opening
passages, because of the rather intricate double stopping required. Towards the end
93
the increases in tempo and volume and brings this part to an abrupt and sudden end,
which contrast greatly the second movement, which is a Canto Janda.
):; II~ ---. ,.,----,
ba - .....- PtJ I [ï)E4 \~M~fli'b~;lcl
.... - - --
i.I . I ,
1/ I I : I .n
+"
, ~lil 01!
-f~!';. '7 pl-,._ -P- v lj v -, .,.r'~,:-
,P--, n, ~r. -\IbH [""1 JIJ ~ .~..r:_".. 1.!..(if IR1'\ [;l
, '!I
, ,
., ___..- v h - --.I-j" ~ h- I ' f .!""l'- 1~J r T'TI) 1)
1--1..,.-I-Il..-.--·\-------··I
, .l.
(Theme of the Paso Doble)
94
• ../"Ï r-, /\ r-...... /\ \r::::.t ;-, r--7. , .;" j,
. I h. r:i , L,
1 ":> .,._../ \L_J ,)0..../ '---- !I I
I V I
I' ~
-. , ,7. . -
'-._....-
- .
r.1'\'
-. 000'" I( ! , .0.+-,\:. _) ". , , ~ lo j! ; ,"""""iT .";... ..#.... ..,.- , ,~ V~ - ..D.7.....,~~ .
~~ 1'-1 ,
f .\. . 77
./ h 1'--
; ......_
;7 -c~ "-:;t , :j.:" , 9....... b";-
(First episode of the Paso Doble)
~ ~
e.lfSt""filldS J_\ _- 1_" ----J-.IJ I ... ' I .'-
'" N, .,
-
il ')
. Jl
'I" ,
f li 1~ '-- _,_ Ji~ pT ,...., .>: ..7j:. ~1r jJ}bl
~ \ Il .r bn-7 ,. ,
~ 1~:1,) -1_,
I
!
,......_
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.7
(Second episode of the Paso Doble)
95
' ............ ~~. ... •• _ .••• - _._ - _, __ , .• • •__ '_---_.-. - 0 .... ,_." ~
The slow, langerous melody of the Canto Jondo is actually borrowed to some extent
from the theme Stockton used in the Concerto for Stage Band's slow movement
(Refer p. 70) and is also couched in the same metre, which is 3+3+2 over 8. The fast
section of the suite is a Bulerias.
I _CJ! n I êS-1
-r=:': ~
Yl>J ! . ,,/, I I _,_I ~-r- 1 'I rI.«Ó: r '_!_I ] .
."
p ,-
\ . y<. \_ ..........' I T _I I I r..f \) \ V
J 'h. ,.. , ...-----_-t" --r-~ ...,._' "'[' ---
.'(
:7
. " (_'<:>
I J?Ërrr 4 ID
"'--.. ' -_. .
~
\ r _l '1 I I ,\ 1 \ ------ h I
/ , iF/, IV ,
-='
I I 1 I I J 1 '1~ I
~
-r- -1"""' ~~. ~'t:-....-.,
v '_ ;
(Middle B section of the Canto Janda)
96
The Bu/erias is well known to Spanish dancers. It is a 1218rhythm capturing the
effect common to many Spanish dancers in which a compass of twelve beats is
used, however in Spanish flamenco music this compass of twelve beats becomes a
little complex because of these placement of accents. The rhythm is written is such a
way that the accents fall on one, four, seven, nine and eleven, in other words three
beats, followed by three beats, then two beats, two beats, two beats and grouped in
that manner. A bright tempo and progressive introduction set the tone for the clarinet
cadenza which follows. After the cadenza a conversation between the clarinet and
castanets sets the tempo over four bars at which point the strings enter with a
rhythmic harmonic background for two bars and continue with this as the solo
instrument (soprano saxophone or clarinet) introduces the first melodic material
consequential to the piece. The melody is complex, both rhythmically and
melodically, stretching over five bars in 12/8 time.
Secondary material is introduced at letter B, the metre fluctuating between 12/8 and
6/8. At letter C the first violin enters with the melody again, which the clarinet
introduced earlier. The clarinet is integrated into the texture with free sounding
answering passages. At letter 0 to E Stockton allowed room for free improvisation
on the castanets, which also helps to add spontaneity to the piece. After restatement
of much of the material the piece is brought to a very strong, virile ending, typical of
flamenco music. In this Bu/erias Stockton tried to integrate the castanets in such a
manner that they become part of the group and not heard as a separate or solo
instrument. The same applies to the clarinet.
97
----=--_.
(Opening statement theme of the Bulerias: showing rhythm and melocic material
which has importance throughout)
I
d ,.-:tZ. ~
.)lo' ,..- - ". JO - ... >
~ ~, ......
" VLIJ J. .".. .,.._",
.lI ,..,.:;..../~"c-: ...-' "- '/
~ ,. '(0... J, j, ti' ~
\../ , ,V~, \
(Subsidiary theme of the Bulerias)
98
The following discussion is on the South African Folksong Rhapsody No.2. The first
of the three big arrangements to be discussed.
99
- ,..,..- _...- "'~ -_" -_ .. ,._.-.- ~.~----~-_. -_ .._~-.--_.,...- - -
4.7 SOUTH AFRICAN FOLKSONG RHAPSODY NO.2
Stockton had written a Folksong Rhapsody No. 1 with which he was not pleased with
and had subsequently lost the score and parts. Folksong Rhapsody NO.2 was
written for symphonic wind band 'and was completed in June 1979. It is constructed
along the lines of similar works by Clare Grundman who wrote a number of pieces in
this genre (American Folksong Rhapsody, Irish Folksong Rhapsody, etc.). The
folksongs Stockton used in this works are taken from the FAK Song Collection and
reflect the situation in musical terms that existed in the seventies before the change
of government. Numerous folksongs would have a political connotation to many
people today, but Stockton saw them purely as songs with historical significance and
a number of the melodies were originally American, German or English in origin,
songs such as Uitspan vanaand, which is actually a piece which was popular during
the American civil war and was called Tenting Tonight. A number of the melodies
are derived from overseas sources.
The piece was played by most of the military bands in South Africa on many
occasions and indeed was quite popular with the musicians, however it is doubtful if
this piece would ever be played again. because of the socio-political situation that
exist today and the fact it contains no African music as such. It remains however
valuable for everyone wishing to look at arranging and orchestrating for symphonic
wind band, so from an educational point of view it might be of some value to
students.
The introduction, which is 17 bars long, still contains reference to five pieces which
will feature in the body of the work. These are in short order, the Transvaalse
100
',V'"'" ••.• "-"'~~---'"- •• ,;..,, ._~:.:-- "<:''_ ._-:-;''-:' ._. """.~ .• " __ ' _ _.
Volkslied, the Vrystaatse Volkslied, Saam met die wa, Santjie van Soendal and Uit
die chaos van die eeue, all taken from the FAK Song Collection. The main body of
the piece starts with the Vrystaatse Volkslied at letter A on the original score, the
melody carried in the woodwinds with a sparse rhythmic brass accompaniment,
which carries the piece right through to a fermata, just before letter B. At letter B the
key changes from four flats to the key of C and the tempo also changes as well as
the time signature, which becomes 2/4. At this point the melody of Saam met die wa
is introduced and Stockton have used a typical 'Western' accompaniment, suggestive
of a wagon. The piece reaches a climax where the instruments are used in tutti,
ending on a fermata followed by a sizura which gives it the dramatic effect and
finishes with the last part of Saam met die wa in a very gentle way.
The next piece is introduced at letter F on the original score in D-flat and is the well
known Sarie Marais. It is scored for oboe and alto saxophone in octaves with a very
gentle accompaniment. It is a short section followed at letter G by a broader version
of the Transvaalse Volkslied, scored more heavily, giving it a more pronounced and
stronger effect. At the end of this section the necessary reduction in texture and style
is needed for the approach to letter H, which introduces the lovely, simple melody of
Santjie van Soendal. This is scored for a solo trumpet with a nice accompaniment by
the horns and lower woodwinds. As the tune progresses instruments are added and
the texture becomes larger and forces gather to bring the piece 'to letter I in the key of
three flats, which is the Ou Karooland. This is dealt with very strongly, brass carrying
the melody aided by the clarinets. Along a transition commences at J, which is
designed to set the tone for Uit die chaos van die eeue. This piece is presented very
solidly and trumpets and cornets in unison states the melody against an iso-rhythm
over five beats accompaniment in the low brass. The purpose of this is of course to
101
suggest the chaos because the iso-rhythm occurring over five beats against the
melody which occurs over four beats create that effect. The melody is presented by
various sections, but gradually builds to a climax where the brass is introduced again
and a big build up to a loud tutti with an almost fanfare-like ending. Right in the last
few bars Stockton introduced the last few praises of the South African anthem at that
stage, Die Stem van Suid-Afrika, which contain the words, Ons sal lewe, ons sal
sterwe, ons vir jou Suid-Afrika and when translated directly to English means: We
shall live, we shall die, we for you South Africa.
The next discussion is on the Peer Gynt in Jeans, based on the Peer Gynt Suite by
Edvard Grieg.
102
4.8 PEER GYNT IN JEANS
During his career as an arranger he had the opportunity to write numerous pieces for
symphony orchestra in lighter vein. Many of these arrangements would be in the
form of medleys which reflect the popular works of a particular artist, or particular
groups. For instance his tributes to the Carpenters and Henry Mancini He also
wrote an overture of Broadway melodies which was very successful, however the
following tune arrangements are offered as merely examples of the type of work
which occupied a great deal of his life.
This piece bears the title, Peer Gynt in Jeans which is a 'jazzed-up' version of the
Edvard Grieg, Peer Gynt Suite No.1. Before discussing this arrangement Stockton
points out that it is very seldom that he consider plagiarizing or interfering with
serious music from the standard classical repertoire. However, the temptation to do
something with the Peer Gynt Suite was irresistible, so he used parts of the work to
create a rather entertaining arrangement in a more modern vein. The work is in two
parts and the first part contains three sections of Grieg's work, which are Morning,
renamed by Stockton 'The Morning after', Hall of the mountain kings, renamed 'The
King's Swing' and the third Anitra's Dance, which has been renamed 'Anitra Jives'.
The second part contains Grieg's The death of Ase, renamed 'Ase's demise
discussed' and conludes with a return to the morning theme as 'Morning again'. The
arrangement is orchestrated for large orchestra plus additional saxophones, guitar,
bass, piano and drums. Double woodwinds are used as well as two alto
saxophones, one tenor saxophone (doubles baritone), four horns, four trumpets,
three trombones and tuba, harp and strings.
103
PART ONE
The Morning after
The opening of this section is similar to the original orchestration, but larger in texture
and instrumentation. The well known theme is pitched in the key of two sharps and
modulates to six flats after nine bars, where it is taken up by the trumpets in unison.
After some treatment of the theme a key change to C major brings us to letter B on
the original score, at which point the cor anglais presents the theme as a solo. After
eight bars a fusion style (rock) rhythm is introduced. This rhythm leads to four bars of
strong tremolo effect in the strings which brings us to The King's Swing.
The King's Swing
Here the well known theme is presented, as expected, by the trombones in unison
over a strong quasi rock rhythm and builds gradually to an intense climax at which ad
lib improvised solo is featured by the keyboard/piano. After a dal segno much of the
material is heard again, leading to a coda which prepares for the key of g minor and
the time signature 3/4 for the third movement, Anitra Jives.
Anitra Jives
The melody is presented by the piano and piccolo, while the second clarinet changes
to bass clarinet. The syncopated answering phrase is presented by piccolo, piano
and xylophone, answered by solo bass clarinet. The romantic theme at letter H is
treated very much like the original orchestration and eventually at letter J the piece
104
returns to the opening melody, again as a piano solo. The ending features the
piccolo and bass clarinet.
PART TWO
Ase's demise discussed
Here Stockton have stayed as closely as possible to the original string orchestration.
This provides the background for the discussion takes place between the solo
trumpet (ad lib) and the solo alto saxophone (ad lib), alternating.
Morning again
In order to bring the whole arrangement to a suitable conclusion, Stockton had to
achieve a very strong, forceful and broad climax from letter C onwards, which allows
for a short restatement of the morning theme at letter D. The work concludes with
four bars in 6/4 metre, marked maestoso and at the dynamic indication fortissimo.
The following and last discussion is on the Unforgettable Nat 'King' Cole. A tribute to
this well-known singer and pianist.
105
4.9 THE UNFORGETTABLE NAT 'KING' COLE
This arrangement is scored for large orchestra, consisting of double woodwinds,
three saxophones, four horns, four trumpets, three trombones and tuba, timpani and
percussion, harp, bass, drums, piano, guitar, strings sections and male voice.
This arrangement was written for a Symphonic Pops Concert in 1987' and were
performed in the Sand du Plessis Theatre by the PACOFS Symphony Orchestra and
singer Harry Talas.
Songs featured in this selection are Mona Lisa, Sweet Lorraine, Too young, Paper
moon, Ramblin' Rose, Nature boy, Orange coloured sky, Unforgettable and Walking
my baby back home. The arrangement is presented as one piece, where the songs
are connected by means of transitions/modulations, and are placed in an order which
provides for contrast of tempo and style.
106
CHAPTfER. 5:
COU\!lCl(UJS)~OU\!l AU\!l[D)R.fECOMMfEU\!l[D)A T~OU\!l
5.1 CONCLUSION
A close inspection on the life and work of Noel Desmond Stockton (1930) brings a
new realisation on his influence on the music scene in South Africa. Apart from his
close relations with the establishment of Jazz as an recognized and valued art form,
he also made an enormous contribution as arranger, orchestrator, pedagogue and
composer.
Stockton's own aspirations led him from a less happy childhood to one of South
Africa's foremost and highly regarded arrangers. This road was often not an easy
one and demanded effort and personal input on his side. His success is partly a
result from his willingness to accept new challenges which often went along with big
changes in his personal life. Gradually moving from a pianist in a band to the airforce
band in Pretoria, to the prisons band in Kroonstad, to the Musicon in Bloemfontein
and finally to the University of the Orange Free State, he clearly left his mark at all
these institutions. His personal driving force and dedication led to him being
appointed director of the prisons band of not only Kroonstad, but also of the prisons
band of Baviaanspoort. A task he performed exceptionally well, also gaining
qualifications in personnel management. During his life he also did more than his
part for community service, like the gala concerts, arrangements for the ATKVand
the FAK, as well as help and advice to school bands.
107
When Stockton was appointed bassoon teacher at the Musicon in Bloemfontein, he
met the challenge head-on and this eventually led to him being today one of South
Africa's leading Jazz educators. As highly successful bassoon teacher he also
became part of the PACOFS Symphony Orchestra of which he was a member for
sixteen years. A remarkable stance for someone who was willing to take up the
bassoon as instrument at the age of twenty-six in order to qualify for an appointment.
An active performer during his whole life, it was especially in Bloemfontein where
Stockton promoted Jazz concerts progressively. The Noel Stockton Big Band
concerts he did for PACOFS is evidence of this driving force towards establishing
Jazz as a recognized and valued art form. Stockton's highly acclaimed expertise in
this field led to him being appointed as Jazz lecturer at the University of the Orange
Free State (UOFS). It can be said without a doubt that his outstanding personality,
punctiliousness and dedication towards what he believes in, makes him to this day
one of the biggest assets to the UOFS. He handles his large lecturing demands with
integrity and ease. He takes a keen interest in students, not only as students, but
also as individuals and that makes him a beloved lecturer at the Department of
Music.
As a team Noel Stockton and Jasmine Antonie worked together on many PACOFS
productions where she was choreographer and he directed the music. In Jazz
parlance his expertise is rated very high and he is also external moderator for the
Jazz school of the University of Cape Town (UCT).
Stockton's biggest and most important contribution is probably on the terrain of
arranging. The long list or arrangements given clearly indicates his superiority in this
c
108
field. Having done recording since a very early age and having worked with some of
South Africa's most foremost artists makes him a sought-after exponent in the field of
arranging, composing and recording.
As lecturer and pedagogue he likes to be up to date with Jazz tuition internationally
and takes interest in what is going on in this regard world wide. It is a pleasure to
see someone of his age with still such a living interest in his field of work. He can be
regarded as a more than only competent lecturer, also actively involved in teaching
programmes for the under privileged.
Stockton states that his life has not been an easy one always. Personal crises left
their marks, but as far as it concerns his life as musician, he can certainly look back
on a life that has been a major success. His five serious compositions, which came
at a later stage of his life, speak of musical maturity and a higher understanding of
what is relevant in composition these days. This led to the fact that all these works
have been accepted very well by critics, colleagues and audiences.
5.2 RECOMMENDATION FOR FURTHER RESEARCH
Documenting the contribution of someone like Noel Stockton gives one the
realisation that there have probably been many omissions in the history writing of
music, regarding people who have made enormous contributions as lecturers,
performing artists and composers. History students should be encouraged to take on
studies in this regard and so ensure that these contributions do not go by unnoticed.
109
The bibliography is constructed as follows:
.:. Anonymous critiques and newspaper articles
.:. Other diverse sources
.:. Discography
1. ANONYMOUS CRITIQUES AND NEWSPAPER ARTICLES
1957
Tony Scott in Deepest Africa
Metronome, Music USA, p. 16-17, December
1957
'Clarinet King' holds audience spellbound
Rand Daily Mail
1960
South African Jazzmen in the Spotlight
The Pretoria News, 5 August
1971
Orkes is landwyd baie bekend en gewild
Die Volksblad, 25 February
110
1973
POIPIUI~aevreruDlI1Ig of band music to ald NUJll"ses Trust FlUIlI1IdI
The Springs and Brakpan Advertiser, 13 July
1973
Massakoor tref
Northern Times, 30 May
1973
Prison Services Band Concert
The Springs and Brakpan Advertiser, 10 August
1973
Gala Night for Nurses
The Springs and Brakpan Advertiser, 10 August
1986
Gala-aand vir gestremdes
Die Burger, 21 October
1987
Amfiteater sal dreun van die Jazz
Die Burger, 16 December
111
1990
Noel Hoogtepunt
Die Volksblad, 12 November.
1990
la Bohéme in Bloemfontein.
Beeld, 31 October
1991
Musiekprys op die spel.
Die Burger, 15 November
1993
Musiek-winterskool in Bloemfontein
Beeld, 7 June
1994
Puik Jazz in Baxter
Die Burger, 15 September
1999
Macufe caters for everyone's taste
Bloemnuus, 8 October
112
1999
Kwartet in ligte luim
Die Volksblad, 17 November
1999
Ses ding more mee om Sarnro-eanqbeurs
Beeld, 27 Augustus
2000
SIYlPslkole vir jong JaZZ,.kUlll1stenaars
Beeld, 19 Mei
2. OTHER DIVIERSE SOURCES
Aebersold, J. (Published annually)
Play along CD's and music (Various volumes)
Aebersold Jazz inc. New Albany
Albert, D. 1983
Leamin' the blues deep in the heart of Texas
Tlhe Star, 30 August
113
Bergonzy, J. 1994
Melodic Structures, Volume 1
Advance Music, Germany
Bergonzy, J. 1994
Pentatonies, Volume 2
Advance Music, Germany
Boshoff, C.A. 1999
Ernstige UV-musici kan ook lekker musikale grappe maak
Die Volksblad, 20 November
Boshoff, C.A. 2000
Jazz-konsert stuur tinteling deur die are
Die Volksblad, 8 May
Coker, J. 1970
Patterns for Jazz
Studio P/R Inc. Indiana
Collier, J.l. 1981
The making of Jazz
Papermac Publications, Macmillan Publishers
114
Delamont, G. 1965
Modem arranging techniques
Kendor Music Inc. New York
Damn, L.
The techniques of twentieth century composition (:rt Edition)
W.C. Brown Publishing Co. Debuque Iowa
Forsyth, C. 1955
Orchestration 2nd Edition
London: Macmillan and Co., limited.
Gourse, l. 1995
Madame Jazz
london: Oxford! University Press
Gridley, M. 1978
Jazz styles
New Jersey, Englewood Cliffs: Prentice Hall Publishers
Gridley, M. 1988
Jazz Styles: History and Analysis
New Jersey, Englewood Cliffs: Prentice Hall Publishers
115
Gridley, M. 1992
Concise guide to Jazz
New Jersey, Englewood Cliffs: Prentice Hall Publishers
Harris, R. 1952
Jazz
Pelican Books
Haerly, D., Peterson, J. & Matteson, R. 1981
Jazz tunes for improvisation
Studio 22.4,Miami Florida
Haerle, D. 1978
Jazz improvisation for keyboard players (Vol. 1-3)
Studio 224, Miami Florida
Haerle, D. 1980
The jazz language
Studio 224, Miami Florida
Haerle, D. 1989
The Jazz Sound
Winona, Minnesota: Hal leonard Publishers
116
Haerle, D. 1994
Jazz piano voicing skills
Jamie Aebersol Jazz lnc, New Albany
Houghton, D. 2000
Answers on the questionnaire regarding the teaching methods of Noel Stockton.
Keet, B. 1954
Jazz is sweeping South Africa
The Outspan. p, 30-33, 23 July
Kernfeld, B. 1995
What to listen for in Jazz
Copyright Yale University
Léibowitz, R. & Maguire, J. 1970
Thinking for Orchestra: Practical exercises in orchestration
G Shermer Inc.
levine, M. 1995
The Jazz Theory book
Siller Music Co. Pentalurne CA
Levine, M. 1989
The Jazz Piano Book
Shell' Music Co. Petaluma
117
Liebenberg, H. 2000
Answers on the questionnaire on the teaching methods of Noel Stockton.
Lowe, W. 1956
Music moves in
The Outspan, p. 34-35, 24 February
Loxton, A. 1959
Blow trumpets for South Africa's Air Force Band
Sunday Times, 13 September
Macpherson, S.
Melody and Harmony
Joseph Williams Ltd. London
Mancini, H. 1967
Sounds and scores
Norhtridge Music Inc.
Matteson, R., Petersen, J. 1978
Flexibility and improvisational patterns for all treble clef instruments
Rich Matteson Music
Mehegan, J. 1962
Jazz improvisation
Watson-Guptill Publications Inc. New York
118
~h.Dller,B. 1999
Bolling is goed gedien
Die Volksblad, 16 June
Muller, B. ~987
Lekker Jazz, danse in Sand
Die Volksblad, 13 February.
Nestico, S. 1993
The complete arranger
Fenwood Inc.
O'Connor, M. 1998
Orkeslede ontvang nou onderrig by universiteit én Musicon
Die Volksblad, 19 August
Ostransky, lo 1977
Understanding Jazz
Prentice Hall Inc. Englewood Cliffs
Piston, W. 1959
Harmony
London: Victor Gollancz Limited
119
Porter, lo & Ullman, M. 1993
Jazz - From its origins to the present
Prentice-Hail Publishers
Sedesky, D. 1979
The contemporary arranger
Alfred Publishinq Co. Inc.
Stearns, M.W. 1968
The story of Jazz.
Oxford University Press
Tanner, P.O.W., Megill, O.W. & Gerow, M. 1992
Jazz
W.C. Brown Publishers
Tirro, F.
Jazz: A history
Van Loggerenberg, H. 1973
Majoor Musiek
SAUK, Radio & TV, p. 13, 16 September
Wagner, J. 1959
Orchestration: A Practical Handbook
New York: McGraw-Hili
120
Waiters, S. 1989
Afrikaners plesierig, maar so selfbewus!
Die Burger, 11 July
Wells, B. 1994
Groot prysgeld op spel vir studente
Die Burger, 9 Novemlber
White, G. 1992
Instrumental Arranging
Dubuque, Iowa: Brown & Benchmark
Winkler, S. 2000
Answers on the questionnaire regarding the teaching methods of Noel Stockton.
Wyatt, M. 1994
Campbell bas die olifant deur die Jazzbos
Die Burger, 19 September
Zeelie, M. 2000
Answers on the questionnaire regarding the teaching methods of Noel Stockton.
121
D~SCOGRA!P!HIY
Private recordings made by N.D. Stockton of own works.
Meet Noel Stockton, LP, RIDGE TMG 5006
SABC Transcription Records
122
The appendix is divided in three sections, namely:
.:. Work list (appendix A)
(Serious compositions and arrangements)
.:. Scores of serious compositions and a selection of arrangements discussed in
chapter 4 (appendix 81-8)
(Concerto for Stage Band, Adagio for Strings, Mangaung Suite, Conversation
Piece, Sol y Sombra, South African Folksong Rhapsody NO.2, Peer Gynt in
Jeans and The Unforgettable Nat 'King' Cole)
.:. Compact discs 1 & 2 (appendix C1-2)
Disc 1: Concerto for Stage Band, Adagio for Strings, Mangaung Suite,
Conversation Piece and Sol y Sombra
Disc 2: Sixteen going on Seventeen, On the Atchison Topeka and Santa-Fe,
Blue Champagne, Thou Swell, Daybreak, Masquerade, Linger a while, Everytime
we say goodbye, We, Waar die wilgers groei, Debbie, Ek sing, In September, Ek
verlang, Joubert Park, String of Pearls, Don't be that way, Rough Ridin',
Saterdagaand, Waar viole speel en My lied vertel.
See compact disc inlays for further detail on recordings.
123
WORK LIST
Serious compositions: i
Arrangements (Prisons Band, Kroonstad): i - x
Other arrangements (done for SABC transcription): x - xi
Arrangements for Meet Noel Stockton, RIDGE TMG 5006: xi - xii
Arrangements for symphony orchestra: xii - xiii
Arrangements for Gé Korsten: xiii
Arrangements for Amanda Strydom: xiii
Arrangements for Evelyn Dalberg: xiii
Arrangement for Margaret Singana: xiv
· Serious compositions:
Concerto for Stage Band
Conversation Piece
Adagio for Strings
Mangaung Suite
Sol-y-Sombra
Arrangements (Prisons Department, Kroonstad):
Aandsinjaal
Advance in review order
Afrikaanse Rhapsody No.2
Afrikaners is plesierig - Jan Pierewiet
Afrikaners Landgenote
Afrikaners Landgenote (Duitse Volkslied) & Fanfare
Alabama / Vanaand gaan die volkies
All in the April evening
Also sprach Zarathustra (Openingsfanfare - Taptoe)
Also sprach Zarathustra (Zarathustra's Prologue)
Amazing Grace (Van Huyssteen) (Choir)
Andalusia I & II
Artes 1984 (Selection)
As ek saans met my maats
Ash grove, The (Choir)
Awendkoor (Koor)
Beautiful Isle of Somewhere (Choir)
Birth of the Blues
Bluesette
Bobbejaan klim die berg & Ou Tante Koba
Boerekos Mars
Boereorkes (Sequence 3 from Artes 1984 Selection)
Boodskap van die Ossewa
Bootjie na Kammaland
Bravo Bugle
Brigadier Fourie Mars (Hou die Blinkkant bo)
Bummellied
Burgers ontwaak
Chariots of Fire
.Congratulations
Cool Water
Daar kom Tant Alie (Van Huyssteen)
Daar onder in die Kaap
Daar's 'n wind wat waai
Dankbaar word ons stem verhef (Halleluja 87)
Dierbaar Suid-Afrika
Dominique
Dominique (Choir)
Duitser Kapeli (Sequence II from Artes 1984 Selection)
ii
Een en twintig kanon saluut - Zarathustra I Finlandia I F & S for Band
Eewge Rots (Gesang 77)
Ek buig voor U 0 Ewig Liefde (Charitas Aeterna)
Ek sing van die wind (FAK 252)
End of a perfect day, The ('n Goue dag)
Erika
Europa
Fanfares Nos. 1, 2, 3 & 4
Fanfare 1970 & Grand Prix
Fanfare Perderuiters
Galop Vos
Generale Saluut
Gesang 12 I 40
Gesang 172
Gesang 180
Gesang 31 I 34
Gesang 63
Gesang 7
Gimnastiekfanfares I & II
Glory Hallelujah
God seën die Vaderland
Goeie kameraad, Die
Goeie ou tyd
iii
Goeie ou tyd & Kom nou kêrels
Good, the bad and the ugly. The
Grand Prix & Fanfare 1970
Groen koringlande
Grote God ons loof U naam
Guantanamera
Handel's Largo
Handhaaf en bou
Happy together
Heart of oak
Heer is my Herder, Die (F major)
Heer is my Herder, Die (G-flat major) with piano
Heide weelde
Heidelied, Die
Henrietta's Wedding
Here is my Herder, Die
Hey, look us over
Hiep, Ha Heidi
Hoe groot is U
Hoe ry die Boere
Hoor die hemelinge sing (Piano)
Hymn of a" nations I Song of joy
I can't stop loving you
Intog van die Lente
iv
Jan Pierewiet en Afrikaners is plesierig (FAK 338, 332)
Kap'it uit
Kenwysie
Kenwysie (Swing version)
Kom nou kêrels - Goeie ou tyd
L.O. Musiek (Series 1, 2)
L.O. Musiek (Series 3a, 3b)
Land van ons Vaders
Lank sal hy lewe
Lappop, Die
Lara's Theme - Puppet on a string
Lara's Theme (from Dr. Zhiwago)
Last rose of summer, The
Lei vriend'lik Lig
Lentebries
Lied van jong Suid-Afrika, Die
Little drops of water (Little grains of sand)
Loch Lomond
Loof die Heer (Halleluja 363) - Loof 0 my siel
Loof God, loof Sy Naam alom (Psalm 150)
Lookylooky
Maar in Amerika
Magic Trumpets
v
Magtige Jehova, lei ons
Mama Tembu's Wedding
Mamy blue (Knock three times)
Marianina (Choir)
March of the men of Harlech
Massas' in de cold cold ground
By Bonnie lies over the ocean
My land Suid-Afrika
Nabucco (Slow march in 3/8)
Nearer my.God to Thee
N'kosi sikeleli Africa
Noel's March
o Divine Redeemer (Anthem)
o God of Bethal (Pipes)
o Vader wat woon in die Hemel (choir)
Ob-Ia-di-ob-Ia-da
Oh Susanna
Oktobermaand
Oliekolonie
Ons dank U Heer vir 50 jaar
Onse Vader
Oranje Blanje Blou
Ou Galiema
Ou Kalahari
vi
Ou Karooland
Ou Tante Koba
Oukraalliedjie (Wandelliedjie, Trekliedjie, Oukraalliedjie)
Pale toe (from Artes 1984)
Pale toe (Selection)
Parafrase op 'n Suid-Afrikaanse volkswysie
Poinciana (alto Saxophone solo)
Psalm 100
Psalm 118 (Gesang 2)
Psalm 146 (Prys die Heer)
Psalm 33
Psalm 68 (Die Heer salopstaan tot die stryd)
Psalm 84 (Halleluja 122)
Puppet on a string
Puppet on a string (with choir)
Republiekfeesmars 1971
Republikeinse Marslied
Rock around the clock
Rock of Ages
Rookie Squad (Hy lyk vir my so baie na Tant Koek se hoenderhaan)
Rothmans
SClow
SA Republiek ons groet u (Choir)
vii
SA Folksong Rhapsody NO.2
Saam met die wa
Saantjie van Soendal
Segelied (Choir)
Selection Band Show
Signature Tune
Skemeraand
Skoollied Kroonheuwel Volkskool
Slaap rustig dapper helde
Slawekoor (from Nabucco)
Slow march
Soft Shoes - Medley
Spanish Gypsy Dance
Spirit of Youth
Spring Carol
.St. Anthony
Stem, Die (South African Anthem)
Stille Nag (C-major)
Sugar Sugar
Suid-Afrika
Supercali
Sy Kollie
Television Themes (A-team, Airwolf & Fame)
This land is your land
This treasured land
VIII
Those where the days
Timpathy (Timpani solo)
Trekliedjie (FAK 50)
Trekliedjie (from Keurspel)
Trumpet Voluntary - Disco Beat
Uit die chaos van die eeue
Vanaand gaan die volkies - Alabama
Ver in die wêreld Kitty (Mondfluitjie solo)
Verheerlik die Heer
Vlaglied
Vlam hoog
Voorwaarts christen stryders (E-flat major)
Waar Tafelberg begin (Concert arrangement)
Waar Tafelberg begin (Swing arrangement)
Waar Tafelberg begin (Choir)
Waltzing Mathilda
Wandelliedjie-Trekliedjie-Oukraalliedjie
Waterjaarlied, Die
Willemien (Choir)
Wind wat waai
Wooden Heart
Worship the King
ix
Zilvervloot, De
Zorba's Dance
Zulu Warrior
Other arrangements (done for SABC transcription):
Debbie
Wiegelied vir Sue (also composed by Stockton)
My resies
Ek sing (also composed by Stockton)
Twinkle Toe (also composed by Stockton)
Rita van oom Faan
Waar die wilgers groei
In September (also composed by Stockton)
Ek verlang na jou
Joubertpark (also composed by Stockton)
Laura
Wonder why
Die swerwer
Daar by die waterstroom
Jy gaan nog so spyt wees
Waar viole speel (also composed by Stockton)
My lied vertel (also composed by Stockton)
Gedagteprente
Saterdagaand
Kan jy nog onthou?
x
Beloftes
'n Aand volmaak soos dié
Riaan
Everytime we say goodbye
We
Girl talk
Fred
Mr. Lucky
Softly as I leave you
Sunny
Masquerade
Squeeze me
Linger a while
Them there eyes
I want to be happy
Thou swell
Close your eyes
Opus one
Amani
Daybreak
Boom-Boom
Arrangements for Meet Noel Stockton, RIDGE TMG 5006:
A string of pearls
Whatever Lola wants Lola gets
xi
I could write a book
Spring will be a little late this year
Don't be that way
Cuban love song
Rough Ridin'
It ain't necessarily so
Settle down (also composed by Stockton)
It might as well be Spring
You'd be so nice to come home to
Sentimental journey
Arrangements for symphony orchestra:
Peer Gynt in Jeans
Salute to Henry Mancini
The unforgettable Nat "King" Cole
Cornucopia (also composed by Stockton)
Coleoptera (The Beatles Medley)
Tribute to The Carpenters
The Greatest Love of All
A touch of Gershwin
Tribute to Ray Conniff (orchestra and choir)
Learn (own composition for the Year of the Disabled)
From the movies: theme from Out of Africa and Say you say me (from White Nights)
Szardas (for the Free State Youth Orchestra)
Zipididooda
xii
Deep in heart of Texas
Auf Wiedersehen
From the movies
Broadway Melodie (Maim, I am what I am and One)
Overture (Medley of Broadway tunes: Strike up the band, If they could see me now,
Hey look me over, Give my regards to Broadway, Come to the Cabaret and There's
no business like show business.)
Barcelona
Old favorites (Do you know what it means to leave New Orleans, Bluesette and Take
Five)
Arrangements for Gé Karsten:
Funiculi Funicula
The Holy City
Arrangements for Amanda Strydom:
New York New York
Dans Salome
Vra nie waarom
Arrangements for Evelyn Dalberg:
They can't take that away from me
Embraceble you
xiii
Arrangement for Margaret Singana:
Mama Tembu's Wedding
xiv
CONCERTO FOR STAGE BAND
First movement (Allegro molto): 1 - 39
Second movement (Song for Drummers Past): 1 - 26
Third movement (Fanfare & Allegro): 1 - 35
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First movement (The Hill): 1 - 19
Second movement (Corn Grinding Song & Knee Dance): 1 - 26

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CONVERSAT~ON P~ECE1 s 2
First movement (Samba): 1 - 23
Conversation No 1: 1 - 4
Second movement (Shuffle): 1 - 16
Conversation No 2: 1 - 9
Third movement (Streak): 1 - 14
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SOL Y SOMBRA SUITE
I Prologue: 1 - 3
II Paso Doble: 1 - 8
III Cante Janda: 1-7
IV Bulerias: 1 - 7
SOL Y SOM8RA SUIT~
][
'SOL Y SOMBRA' SUITE
The piece is dedicated to the memory of UYS KRIGE, and this will
explain the title, taken from his collection of poems of the same name.
My wife and I had the great pleasure of meeting him while working
together on his play "Die Goue Kring", for which I composed the
incidental. music. His love and fascination for Spain and Spanish
culture was unusual in a 'down to earth' South African, and his
unassuming 'worldly' nature was both charming and inspirational.
The work begins with a sombre exposition or 'PROLOGUE' of some of
the main themes which appear later.
This is followed by a bright stylised 'PASO DOBLE' in 'almost' rondo
form, and the main theme introduced by the clarinet is 'almost' a
twelve-tone row.
The third movement 'CANTE JON DO' features a languorous,
expansive melody, over a syncopated 3 + 3 + 2 rhythm. This melody
8
heard on clarinet and 1st violin is interrupted briefly by a bright
Spanish dance in 3/8 metre, after which it returns to the sombre
melody it began with.
The Suite concludes with a 'BULERIAS' - a quick Flamenco dance in
compound quadruple time.
The music is extremely complex both rhythmically and melodically,
and places great strain on all the players.
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PEER GYNT IN JEANS
Part I (Morning After, The Kings Swing & Anitra Jives): 1 - 29
Part II (Ase's Demise Discussed & Morning Again): 1 - 10
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ABSTRACT
·1NI0lEl [o)lE~MOINl[o) ~1rOCC!}O'"OINl
~!bOtr[ll) ~ ~l(Q)}
AR.R.AU\BGER~COMIP(5)ERjQ\U\BD IPEDAGOGlUJE
~'-I' :
J.J. POTGIEtER'
UNIVERSITY OF THE ORANGE FREE STATE
The idea of a study on this subject was born out of the realisation that in recording the history of
music, many omissions occur in regard to musicians and pedagogues who made important
contributions to the music profession. After some informal investigation in the form of
interviews, formal research on this dissertation commenced in 1999 and the study was
completed in December 2000.. The main aim of the study was to highlight Stockton's
contribution to music in South Africa, as one of the country's foremost Jazz artists, as well as a
highly prolific arranger, composer and pedagogue.
The study is divided into the following sub-sections:
Chapter 1
This introductory chapter deals with the research design and research methodology. It also
states the aims of the study as well as the necessity thereof.
Chapter 2
A biographical study on his life and activities, from professional pianist as a sixteen year old to
lecturer in Jazz at the University of the Orange Free State. Insight regarding his development
as an artist and pedagogue is the main thread throughout this section. After chapter two the
text is supported by visual documentation in the form of photographs.
Chapter 3
Here Stockton is dealt with as lecturer. His approach towards Jazz tuition, the problems he
came across during his years of teaching these and his suggestions on the teaching of various
courses are presented in a concise, but meaningful way. Former students' views on his tuition
support this chapter. The chapter also deals with the compilation of a Jazz course on tertiary
level. This section ends with a general discussion of Jazz tuition and Jazz style, constructed on
Stockton's own views on these issues.
Chapter 4
This chapter commences with discussions of Stockton's five serious compositions and
concludes with discussions on a selection of the bigger arrangements for full symphony
orchestra. Seen against the background that Stockton wrote hundreds of arrangements,
discussions on the complete repertoire of these was not feasible. The analysis have been
performed in a systematic annotated way.
Chapter 5
This chapter contains the conclusions of the study as well as a recommendation on the
importance of music history writing on contemporary, lesser known composers and musicians
who made enormous contributions to the music scene.
In the appendixes (a) a work ·Iist is provided, as well as the (b) scores of the eight
compositions/arrangements discussed in chapter four. The study concludes with (c) sound
documentation of the serious compositions on the first compact disc and a selection of
arrangements by Stockton on the second.
nn.V.S. BlB(tO~