Professional Documents
Culture Documents
VOLUME 1
BY R O N M I L L E R
WHEN THE MOPES O f MUSIC CHANGE. THE WALLS OF THE CITY CRUM%LE- (PLATO)
No part of this publication may be reproduced, stored in a remeval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
6
7
8
-...............................................................................................
. . ....................................................11
15
19
...
......................................................
37
. . . ......... . . ..................................
Process
49
.-.......................... . . .....................57
65
R X - Form ......,...........................
..................................................................................63
CHAFER XI - Harmonic Cantour .............................................................................................. CHAPTER XLI - The M d e s and Chords of the Altered Dia~onic No.2
(Harmonic Minor) ......-....... . . . . . . 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
............................. 89
95
111
. . ..........................................................
.............115
124
APPENDIX
1. Acoustics and ModaLiv ..................... . . ......................,............+-....................
....................... 126
4 Ear Trailllng ................................................................................................ . . ............................. 136 5 . Tree of Influential Jazz Composers , .................................
. .
. . .....................................138
........................ 142
INTRODUCTION
The subject ofjazz cornposition has many meanings. TradicionalIy, a jazz cornpositi~n was an arrangement for big band that was composed by the arranger. Mast OF tke earlier jazz composirion textbooks (and there were few) took that approach. A jazz composition For universal use was not a practiced consideration at that t i m e :mast small group performance was based on playing standards or blues, o r tunes with new meiodies derived from an improvised solo over the original or varied version of the original chords. Even the most Forward-looking composers of the time were tied to the song form and tonal hamonic system. Although they produced classic, beautiful compositions, the closed quality of their hamonic vocabulary and symmetric form deprived them ofdiverse expression. It wasn'r until che early sixties, when a group of university educated composers hit the scene, rhar jazz compositions evolved into venues o f individual expression for both the composer and the improvisor. These young composers,aware oFche harmonies oFBarcok, Stravinsky, h v e l and Rachmaninov, and the use of extended and free-form, inrroduced a new concept of jazz composition to the jazz world. Representative of chis new breed were Wayne Shorter and Herbie Hancnck. O f course, there were interim composers who advanced rhe art of jazz cornpasition and influenced subsequent camposers with compositions of great strength and beaury. Horace Silver, a perfecr example, influenced many jazz composers - this author incIuded. Although his harmonic vocabulary was based within the tonal system, his use of unusual form and perfect tonal cenrer relationships along with great rhythmic ideas and memorable melodies has earned him the respected position of one of "the masters" (see T r e e ~Flnfluential Composers" in appendix). It is the freeing of the composer from the scruccure (or scricmre) o f rhe tond syscem and scrict form, song form in particuIat, that has allowed so many composersof inen abilities to "bbssorn"r a artisa with individual expressive merit The god o f Volume I of chis book is to show che student the means to develop latenc creative abilities by offering rhe unfettered environment af the chromatic-modd harmonic system and Free-asymmetric form. In addition, the freedom of the approach will allow the composer to express himself in any style: Post-1950sjam, cIassica1, ECM, Fusion,pop, ecc, that is not tied 1-0 any harmonic particulars.
jazz is baricdly a performer's arc form- Not unlike the army where i n spite of individual spr&zarion weqone is ba~icdly an i n F a n ~ mEveryone ul, in is baicd+, player. p u r tala& are stronger in the writing area, be prepared to duesm or get into classical compmirion or film scoring Although the b z i c skills required For borh players same, once those skills a x acuir*, ' h e Process ofd ~ e l o p r n .-hanger e ~ ~ me = , i are ,pFreaCh arraining a level of arcistic mmpecence f o r t h e player Tequires &e environment of pracricc mom ~ i hours ~ h of ~ O L skius, Q ~ learning lidrs and learning transcribed solos and dev%'ing and perfecting a conepr produc*on. The composer, in a disimil= fxhionp must e x ~ m d his Iearning cnGrifonment to .world and all it c a n reachOnce the has mastered the basic include this is true for the he has ta acquire 'somehing to say-" Qf bur required insrmrnenal skills seem haw precedence at this point. For che composer, whose effom are less ephemcraI, the foltawing regimen is s u ~ e s t e d .
2, Know theory and nomenclature: Composes use writren means of communicarion. nis m~egory is obvious.
2, Evolution ofjazz styles: one should be able write in all jazz styles and knowledge dementsof d l svles will improve one's personal style.
3.
sru*
and ,&nmv rhe works of rhe influential jazz composers: Chadie parker, Duke Elbngton, Charles Mingus, Horace Saver, and Wayne Shorter.
5. aassid music. study and k t l o the ~ works of the romantic melody writers and modern harmonis= - ~chaikovsky, Rachmanhov, Chopin, fiok~fiev, S m i n s k y , Ravel, ~ ~ d Copland; and the classid ~nfluenced ECM - R d p h Towner, Eberhard weber, Kemy Wheeler-
occupanons.
This book is organized in a way that separates rht hbrrnacion pertinent to acquiring creative skills, and thac of a more esoteric nature: the hows, whys and theoretical Foundations, as found in the appendix This means chat the student interested i n quickly getting going with composirion doesn't need to erret out the "good" stuff from a jungIe of data, while the smdent interested in the hows and whys can easily access that information. Ic rvill be pointed out within the tern of each chapter when additional idormation is available in the appendix. In general, the procedure is to first develop the language of harmony as used i n che book, work with exercises to assure mastery OF the concepr, andyze how che concept is used by accomplished composers and finally, apply the concepa to create a c~mpositionEach chapter has a title page with a list of terms that are important to gaining a complete understanding of the concepts presented in that chapcer. The terms, some peculiar to this book, are found in itaIics and are defined within the text. In addition m understanding the tenns and conceprs, OF extreme importance is rhe *hearing" of the musical aspects of the concept, Any chord, mode, melody, exercise or exampre shouId be played on a keyboad regardless ofthe student's keyboard skills. Only rhen should the student, if not a keyboardist, use his instrument or voice. WhiIe playing the exampIes, the student should be lisrening intently to train his ears to the particulars of each example. Each day the studenr should try to find rime ro listen to a selection from the induded discography. The ultimare goal is to haw all the recordings listed there available for persona1 listening from memory done. An important point ro remember i s that no one can successfully compose in the way this book advocates without first being able to "hear" the concepts presented. In a nutsheI1, the smdent
should;
1. Learn the concepr inrelIecdly. 2. Learn t o phy it on a keyboard.
3. Learn to hear ir.
4. Learn its application in a recorded example.
W~th each chapter, the subject wil1 be illusrrated with an m p k o r examples. Srudy these, and play them. Next will be suggested exercises &at will assure that the concepts are mastered Bur more importantly, they are designed to develop creative skiIk, in facc, most exercises rYli be the seed idea for a finished composition. The point is to approach the exercises as a potential composition rather than an academic exercise and ta do as many as rime d o w s . When all the beginning concepts ate mastered, we will begin to analyze how rhe techniques are used by che master composers on recorded examples. One should have done much listening by this time. IdealIy, che book d be used in a cIass~oomsituation with an accomplished teacher/composer who can offer informed objective feedback For any student effort. Once the canceptc of d-te book are mastered, this last step i s a must for artistic development. I n e n the informarion is assimilated and mastered (or before), it is hoped thac the srudtnc will realize that the *freedom" advocated by the methods o f this book allows him to do what he got into music to do to begin with: Be crearive and have fun!
CATEGORlfS
OF JAZZ CUMPOSITION
The foIIowing, Iike h e TreeoFComposers (found i n theappendix,p. 1381,is included t o assist i n clarifying a direction of study: an artempt to clear some routes through a comprehensive subject and t o tie together che cornposirionaI styles and influences of the major jazz composers.Jazz,being an a r c form that allowed individual expression through improvisation, would narurally wolve ro allow individualiq to be expressed both as composirion and impmisacion. The caregories ofjazz compositions that will be cwered in both volumes of this book w i l l include the foIlowing categories,with volume 1 covering the most complex and comprehensive, as we11 as that which che rest is a subser free-form modal (modal complex).
TONAL
A. SONG FORM
Based on rhe symmetric 32-bar song form rypicaI of tunes from the sundard repertoire ofthe '30s and ' 4 0 s ,this is improvisation oriented cornposirion, many o f the tunes being melodies d e t i d from improvisations over standard and dance runes. Compositions not derived from existing tunes were nonetheless based on rheir formulae. Their harmonic material rawly strayed From cotalIy diatonic key reladonships. Representative composers are Bird (Charlie Parker), Duke Elhgron, Billy Strayhorn, Tadd Darneron, and Thelonious Monk.
8. FREE-FORM
No Ionger strict song form, rhese can be asymmetsic or through-composed.In addition, there is much use of nondiatoraic key centering. Representative composers are: Duke EUington, Chades Mingus, Billy Strayhorn, Benny Galson, and Horace Silver.
MODAL
A. MODAL SIMPLE
These are the early rnadaI compositions,where the harmonic content is based on one mode
(linear) or a few different modes at different key centers (plateau). Typical are "So What," "Impressions," and "Maiden Qoyagt" Although nor tonal, she form is still fairly symmetric, with mosc of rhe compositisns being AABA song form.Other &an Colcrane and his fbllowers, there doesn't seem to be a *school" of composers with this specialization.
PENIITONTC
This i s a composition i n which the melodic source material i s the focus of its development. That melodic source material i s derived from either the unalwred, altered, or add n o t e pentatonic scales and alI their modes. The harmonic material can be of any category, but the form is usually derived from that which is Found in the worId's folk musics.
AVANT-GARDE
A. TONAL/BEBOP
Using tond melodies and song fbm as a point of departure, rhe father OFchis style is Omette Coleman, who is a major influence on Carla BIey, Albert Ayler, and Pat Merheny.
B. MODAL
Pushing the simple-modal and petImt0ni.C category to the edge, John Calcrane and his followers at the time - Steve Grossman, David Ciebman, Archie Shepp -are the represenmrive
composers.
C . FUSION
Utilizing dance rhythms, adding electric instruments, but still maintaining free improvisations as in basis, chis category i s represented by Ornetre Coleman, James 'Blood' Ulmer, Bill h e l l , and ochers.
D. WORD/ETHNlC/PUOGRAMMATlC
The last category of avant-gardeis very diverse in style and oEers venue for the composer who has che desire to make a social comment. There are toe many in this and the Fusion category to list rhe r m l y representative. The most famous are Sun Ra and the Art Ensemble of Chicago.
A11 of the above wiCI be cowred in detail i n the appropriate chapters ofthe appropriate volume, but For now it should sufice as a guide ro comprehension of the *big picture" and getring an idea of the rsverali goal OF both voIurncs of this text Bear in mind that the bctter jazz composers create works in many of the listed categories.
'ER I
I . Sty
2. syrnrncrrlc vlv~slon
3. Asymmetric Division
"
, ,
CHAPTER I
-
The harmonic materials emphasized in this book can be applied to any stylex] of composition, if the style is not defined by any harmonic particulars, i-e., pasr-1950s jazz, pop, ECM, Iare 19th/20rh cenrury classical, etc.
Typicd would be the works of Pat Merheny, Wayne Shorter, Ralph Tamer, Joe Henderson, and Kenny Wheeler, t o name a few. Most ofrheir compositions are similar in their use ofnondiatonimlly related modal material, free-form (non-song form), asymmetric harmonic rhyhrn, and a diversicy of rhythmic style. I n addition, many of heir compositions reflecr a tie to the d t i o n ofjazz with secdons of tonal harmony and swing feel.Most oftheir works are "playable."
HARMONIC GROUPS
T h e groups are defined by the presence or absence of preset rules oEssructure and organization.
The harmonic content oFa composition can be i n one group or combinations of the groups.
THERE ARE FOUR MAW GROUPS (three are modal, one i s nonmodd).
1. TONAL (modal specific)A modd system which has specific means of org-tion
(rules):
relationships
2.
3. CHROMATIC (pIateau tonal) Same qualities as tonal, excepr there is no dearly defined heme key:
(a) there are many different k
g cenrers (plateaus)
&finition. 3) The quali~y of any scale in which rhe OCUVC, equally divided, giva each s d c s t e p or hagmait the same harmcmk/rneldic definidon. 4) The dynamic qualities of a group of chords wthin a s e c ~ o n or phr=
4. NON-MODAL (symmerric): (a) unclear resolution,each note has the same harmonic/melodic qualities
(b) chords and melodies exisr:as a sonority, a *soundm
(c) example: diminished, whole mne, 12-cone, angrnented
I A Z Z HARMONIC SYSTEHS
VERJICAL MODAL
(a) fast harmonic rhythm (one chord pet beat to one chord per bar)
T h i s harmonic style, being v e y active, can be overbearing. It is usually used at cadenrid areas ofa composition, but can be found i n complete use i n some dower tempo tunes.
Examples: "Licde One" by Herbie Rancock, "Dance Cadaverous* by Wayne Shorter, "Yellow Bell" by Ralph Towntr.
Examples: "Gazelle" by Joe Henderson, "Afro-Centric" by Joe Henderson, "Loft Dance" by David Liebman, "Maiden Voyage" by Herbie Hancock
LINEAR MODAL (there are two kinds - depending on t h e harmonic rhythm):
SUGGESTED EXERCISES
Listen to the FoIEowing recordings and try ro identi@the general harmonic group. If more than one group is used in a single composirion, Iabel the group by sections. Try co name the modality of each section.
3. Fawer to h e People
4. AmeTican Hope
Compare the rhythm section style of playing on the above recordings with that of any Charlie
Parker recording and compare the harmonic rhythm of the above wich any pre-1960s jazz Messengers recordings. Is there a diEference i n rhe harmonic rhythm of compositions found on Messengers recordings after Wayne Shorter joined the band?
CHAPTER II
of the
Ur
.
.. ' - 7. ..," a. :
.,
Diatc.., Moues
..
Method
2. Chromatic Method
3. Tetrachords*)
CYAPTER tl
METHODS
There are two methods
1. DIATONIC METHOD
The traditional method: that of establishing a key center and transposing the adjacent notes of r h e major scale. T h e modes are diatonically relared, with no clear color
comparison. 2. CHROMATIC MEMOD
Fixed starting note method: this is a nondiatonic method where each mode has the same starring nore. The modes are constructed by h e combination of tetrachords thar cIarifies the differences in modality, stabiIity and hatmonic/rnelodic qualides.
T h e main god of this section is ro establish a harmonic palette for the composer of modal composidom KO use i n a manner similar to char OF the visual artisr. The "colors"are to be brighr or dark, tense or relaxed, and t o have emotional effects a s weI1. With this in mind the chrornaut rnethad i s the best choice.
The siu scales from which the harmonic material in chis book will be derived are the following.
1. Ionian mode
2. T o i n b3 (melodic minor)
Lydian
DIATONIC
SEMiTONES
CHROMATIC
SEMTTONl3
222
Hungarian major
Hungarian minor Harmonic Spanish Phrygian
312
Ionian Dorian
221
2 12
213
131
121
p p p p
Phrygian
122
Example 2-7:
Lydian
Ionian
Dorian
Phmian
Hungarian major
Hungarian minor
Harmonic
Spanish Phrygian
CONSTRUCTION OF
T H E FORMULAS
Note the shifring af the minor second interval From the right to the Ieft This is a visuaI representation of the order of bnghesr so darkest of the modes.
Lydian
Ionian
Mixolydian
Dorian
Aeolian
Phrygian
+) Now that i n order far &e semicoma ro add up m 12.. a n o h i n d must be added m thc formutq, cirhtr a strnlront or a whote tone. This will be called rhc rormecmr or mnnrmrm"g tone arpd i s Found k w e e n the upper and lower t e c r a c h d
CHAPTER
I1
SUGGESTED EXERCISES
1. Construct the following modes using the terrachord method (do not use key signatures):
(a) D Tonian
(b) E Aeolian
(c)
Eb Locrian
(d) G Phrygian
{e) Bb Lydian
(0 Db Mixolydian
(g) E Dorian
5 . Do the above for the modes, make nore of their emotional qualicy,
CHAPTER III
Cor
~ctic
of the
Unaltered
Diaton~c cnaras
sive Met
l ling
t
Scale
r Order
Spacing
7. Tea-.-.
8. Cluster
9. Quartal
10. M
11. Balance
12. Support
13. Tes:
17- Overtone series
. Upper Structure
15. Grip
CHAPTER Ill
METHODS
There are two mechods o f modal c h o d construction:
1. COMPREH ENSlVE MEFHOD
A11 aspects of modal quality and acoustic properties of nore groups must be known:spdIing, spacing, and balance.
2. SHORTHAND MITHOD
Upper structure method: an upper strucrure with a particuIar hand shape o r ~ i s pplaced over a root. [Note: The shorthand grip method will be covered in Chapter Vm.1
The notes with different alterations are the notes that give the mode its quality. Them is an order of priority i n the list of color rones that define any mode.
This describes how the vertical spacing affects the chord stability.
[Note: For chis kind of harmony, stable chord constnution is not aIways desired; often, an exotic imbalanced construction sounds very appropriate.]
Good balance usually is a result of chord consrruction, which Follows a model OF the overtone series in its vertical arrangement. In addition, the qualiry of the intervals adds to the ovetall sound - thirds are consonant, seconds have bite, and fourths have tension.
1. TERTIARY - The most balanced, the one which mimics the o v e m n e series but the masc bland and uninteresting.
2. CLUSTER - The one which is most unlike the omtone series, but has an interesdng
"bite."
3 . QUARTAP - An example of displaced overtones, i t has subtle added tension which gives
it a great sound
4. MIXED -The best choice, has a good combination of consonance, bite and tension.
No less than an octave between the root and the upper smcmre if the root i s lower chan G3 (second G below rniddIe C).
No less than a 84 between the root and the upper scrucrure if the root is above G3. No more than an octave between root and upper structure if the root is above C3(17 below
middle C).
3. UPPER ~
R (MIXED) E S
N o more than a fifth between the lowest nore of upper structure to its next upper note.
No
more than a
Keep in mind that the upper srrucrure by itseIf is less sensitive to weak balance, and char unusual combinations are desired in mosr cases.
1) A resuIr ofrhe rmc m upperstrucnuc rano mthie a certain tessrtun Support i s cFFecrcd by rhe r&rura OF h e 1 0 0 and ~ its ability to acr a sa fcmdamend to the mermnc senes. (See
p. 127)
--
Although a11 spacings will be represented in the examples, it is restated here that the most interesting are the mixed spacings. Still, ane should be familiar with the consrmction and use o f a11 spacings.
1. Select che general tessitura and soar of rhe chord. 2. Select the kind of spacing.
3. Place the primary color tone somewhere within the seIecced ressitura.
4. FiIl inJup or dawn, the remaining coIar cones w i r h i n the specified incervaI o f che selected spacing to t h e number of notes desired in the chord (four or five plus root is ypical).
5. Keep in mind the rules of supporr and balance if good support and balance are desired.
6.If constructing mixed spacings, try co create balanced chords first, then experiment with
exotic (imbalanced) spacings. Some of them sound surprisingly good.
7 . Erase and adjust if needed. If consrructing an assigned spacing (quartd, e tc.) you may need to shift the prioricy tabIe to fuIm the requlred spacing8.Doublings are acceptable and wen desired in some cases. commendations wilI be made within rhe comments of each example.
A t this time it should be pointed out h a t there is a problem with r h e standardization ofmodal
chord symbols. Throughoutthe remainderofthe text, the chord symbols given in the examples
are a compilation ofsuggestions that I have received from t h e many s t u d e r m I have had from
all parts o f the world. These suggested symbols work, but are open r o criticism.
- Tertiary
The mixed examples are typical of h o s e found in common practice. Specific examples found in the Iisted discography will be labeled.
Check marks refer to the prefkwed examples because OF true modal ~ u n o dr because o f "common practice" usage.
7. LYDIAN - Sounds best with the third next to the #4,try to avoid using the fifth, ic makes the 1 1 4 sound like a #I1 (see FO&j9#ll).
Example 3-1:
F Lydian
~11 6
CONSTRUCTIOH OF
2. IONIAN - There are two Farms of Ionim, the common one: A6/9 which is lacking complete Ianian modality, and the A I I which has the m e modal sound
Example 3-2:
(2) = exotic
(3) tradirionaI
(4) = contemporary
3, MIXOLYDIAN - Like Ionian, has rnversions, the one with true modality bar both the third and the fourth.
Example 3-3:
(1)
true
modality
4. DORIAN - Must have a n a t u d sixth, note chat C-9 is not a modal chord.
Example 3-4:
0-13
D-6
D Dorian
(1) from uTouch"by Eberhard Weber (2) *AIice's Wonderland by Chades Mingus (3)"So WhaP by Miles Davis
5. AEOLIAN
Example 5-5:
A-9 b6
A Aeolian
C-9/6
*-gb6
(I) a Gil Evans voicing (2)"Sea Journey"by Chick Coma (3) "The Lieb" by Ron Miller
E susb 2
D-9/E
F-11/G
7. LOCRIAN
Example 3 - 2
Usually here will be no need to double any of rhe notes. Ifthe occasion does come up, try to double the roar as first choice o r choose a color tone that emphasizes the primary color rone as second choice. As an exampIe, doubling t h e root with Phrygian aIso emphasizes the b2 quality of Phtygian, doubling the root with Aeolian emphasizes the namral second. Regarding 'common practice' adjusrment OF the color tone priority table, many of the recorded exampla are by piam players voicing5 so the exampIes are derlved from what canfarms t o hand shape (see Chapter WlI on the grip method). Other adjusrments are made t o enhance zhe modality of the chord An example is the incIusion of rhe perfect fifth to Aeolian to emphasize t h e flat s i x quality while darieng that che chord i s not an Aeolian flat five (Lomian 42).
COHSTRUCTlOM
O F THE
U N A L T E l E n D l A T O N tC C M O R D S
SUGGESTED EXERCISES
Lydian, mixed
(g) Eb Lydian,quartal
I
I
2, Construct the follorving chords as specified (include chord symbofs and use your best alligrlphy - be aware oFnear presenudon):
(a)
G Phrygian, quartd
@) E Dorian, cerdary
{d) D k Ionian
3. (a) Play rhrolzgh all of the abwe chords, transpose ro aIL keys.
(b) Listen casefully as you play. Have a friend play them, cry to identi5 their modality.
CHAPTER !I1
of the
Unaltered
,
... .
Diatonic Mod
Wrder o f Briahtn,,,
LU
uar~rtess
6. Palette
CHAPTER I Y
The Following characteristics of the unalresed diatonic modes are the seed qualities for aH subsequent modes and their chords ro be introduced i n the book. The later modes/chords have these basic qualities, with subtle enhancements according to cheir divergence from the source diatonic mode.
The goal o f the following descriptions is to establish and list a mode's musicd/ernstionaI qualities, which can be referred m for compositional and a e s t h e u d use.
BRIGHTNESS TO DARKNESS
1 . The shifting of the semitones from right co lefr increases the mount of darkness.
2. The increase of darkness is a redization of the e f f ~ r of s dteracion
by "flatdng."
1. LYDIAN
2. TONlAN
brightest
3. MIXOLYDIAN
4. DORJAN
5. AEWUAN
6. PHRYGIAN
7 . LOCRIAN
darkest
RESOLUTION TENDENCIES
1. MOMENTUM - The desire of the mot to resolve to the home key, the rooc of the Ionian mode w i t h the same diatonic spelling.
G Ionian
The chords can cycle through chords wi& less momentum unul the home is reached.
Example: D Dorian m G Mixolydian ro C Ionian
As one can see, this is the Foundarion for dktonic cadence. 2. MODAL RESOLUTION - T h e desire of a modal chord co release its tension by becoming
the Ionian mode with the same root. Examples: C Aeolian to C Ionian, F Mixolydian to F lonian. This method of chord comparison i s used to create r n d contour and wlII be covered in
a later chapter.
3 . nABILITY - The lack of any need OF the modal chord to resolve, &o could be thought of as Iack of tension. Ionian is rhe only mode without desire to resolvt or to relieve tension (see appendix).
The order of tension or Iack of stability is the same as the darkness order, except that Lydian i s less stabk than Jonian and wanrs to resolve to Ion&.
CHARACTERISTICS
O F THE U N A L T E R E D
DIATOMIC
MODES
EMOTIONAL GrENERALIZATlONS
The modes can and should be used t a form an emotional response From the listener. The descriptions a r e the resulr of a listener poll upon hearing differenc modes with different voicings. Being a generalization, the results are accurace in mosr cases but cannot be t o d y relied upon. Such inaccuracies come from the diversicy of t h e listener's farniEiarizadon with different kinds of music, as well as their Iife experiences and ~ I t u r a backgrounds. l
THE RESULTS
1. Lydian - aggressive, urgenr, frantic, urbane, busy
2. Ionian - stable, peacehl, placid, content, hopeful
- brooding, uncertain, though tfuI, pensive 5. Aeolian - melancholy, sad, somber, darkly romantic
6.Phrygian - mysterious, exotic, haunting, spacy, psychedelic
can m a r e a modal Iandscape by ccontrascingbright chords with dark ones.We can bring about an emotional response from rhe Iistener by our selection of modality and by carefu1 selection o f the general key or tessitura ofall the chords. I n addition, we can enhance the eficr by the selecrion OFthe appropriate tempo and harmonic rhythm.
A l of the above wilI be covered in later chapters, but next we need ro constr~cc modes and
their chords that will add secondary "colots" t o our palette.
It is important to grasp the concept that the second group of modes is derived from the primary group o f simple diatonic modes; that the secondary group is a form o f altereddiatonic, and that all the qualitiesof the original diatonic modes are maintained but enhanced
by the quality oFthe alteration. As am example, one o f the modes we will consmct is Phrygian. with its sixth naturalized. The sixth of she unaltered diatonic Phrygian is flamed so the n e w Phrygian natural six has the same qualities of the original but a bit "brighter.*
CHAPTER I Y
SUGGESTED EXERCISES
1. Play all the previously constmcced modal chords, try to identify their emotional quality.
2. Listen to the following recording, make a comment on your emotional response. Name the overall modaliry. Note how tempo and key affect the end emotional result.
(a) Power to
the Peopk
(b) American Hope - Ron M~ller, "Elerneng" Libera1 Arts (NOYUS 3058-2N)
3. Learn the acoustic source of the diatonic modes, be prepared to answer irnrnediamly.
Examples:
C Phrygian: Ab
F Aeolian; Ab Lydian;-
B Mixolydian:-
The Mode:
Altered
bnic No. 1
(Melodic Minor)
CHAPTER V
tetrachord. This is rhe darkest one we use; any furher shifting of rhe right semirunes would produce a wholly chromatic combination.
Notice t h e asymmemc organization of the semicones due t o the alrwations. AIthough the darkness order is unclear, we will simply follow the order of the vnalcered diatonic modes, with the ahration being considered a quality enhancement. Traditionally, we think of the source of this set of modes as being melodic minor (ascending), bur in order to refer to the parent scale for order of darkness, emotional characceriscic, etc., try t o think of the source z s altered Ionian - Ionian b 3 .
Lydian-augmented
Mixolydian #4
Mixolydian b6
-,, >
4-
><-8
'
r,
C/
/-
, ,
Phrygian hd
Dorian h7
Altered
--'
THE
MODES
OF T H E RLTEAED
DIATQN~C NO
MELODIC
MINOR
Comparing the altered diatonic modes with che diatonic modes, we derive the foltowing table of color tones, again, adjusted for common usage and modal defmiuon.
TABLE
As wilI be seen, we must use at leasr: two of the tones to get suficienc modal definition.
CHORD E X A M P M S
1. LYDIAN-AUGMENTED #4-
2. MIXOLYDIAN #4- Not really the 13811 chord Familiar to d, this chord k usually used in
tandem with sus chords. It is a brighter form of M i u o I y h and is rraditiolnalIy caiIed Lydian-dominanr
Example 5-3:
CHAPTER Y
3. M IXOLYDlAN b6 - A darker form ofMixolydian,it has an Aeolian sound and can be confused with Aeolian if rhe third i s not generated in the overtone series by rhe played instrument (see appendix). This chord is highly recommended for attaining a fresh sound.
Example 5-4:
4. DORIAN b 7 - UsvalIy called minorjmajor seven, the natural sixth in this mode separates
it from traditionaluse. Like M k l y d r a n 14, it i s often used in randem with sus 4 chords.
Example 5-5:
5. AEOLIAN b5 - Also known as hcrian \2, eirher name is okay. AIthough we cmditiondy
use this chord as a ii chord in minor ii-V cadences, the modal use is a "stand alone," non-
functional use.
Example 5-6:
6. PHRYGIAN 46
One of rhe earhest chords used in the new-modal type of composicians, it first appeared on Herbii Hmcock's album EAadm V q a g ~in , the mne "Lircle One."This chord can sound Iike a 6/4 chord with a suspended b2 and was used hat way by Ravel
(Daphne et Chloe).
Example 5-7:
THE M O D E S OF T H E A L T E R E D D I A T O N I C
NO. I
nELoelc niNon
7. SUPER-LOCRIAN - AIso known as altered, diminished-whole tone and as the Herb Pomeroy scale. I t sounds very dominant and fmctional but we will use it as a "stand done" modal chord. If flat burs (i.e.,fb) make you uncomfortable, use the often found incorrect spelling of a naturnl third.
b4
~7~~
Fraditional Spelling)
We now have nw, sers of modal chords in our pdetce. They can now be merged into an order of bright to dark. As mentioned previously, the altered modes are variations of the diatonic modes. If the alrerarion increases rhe number of left-sided sernitones, che mode is darker. IF rhc alteration moves the semicones ito the right, the mode is brighter. With this in mind, the following is the collated order OFthe m d e s we have conscrucred so far,
brightest
3. Ionian
4. Mixolydian #4
tensely yearning
5 . Mixolydian b4
6. Mixolydian b6 7.Dorian Q
ramantically hopeful
permrbed
8. Dorian b7
9. Aeolian \S
10. Aeolian b5
rornanticalIy confused
11. Phrygian b6
12. Phrygian b6
open, hopefid
13. Locrian h4
14. Locrian 64
bluesy, urbane
da
Having our first p u p of secondary coIors added to the palette, we could, at this point, creare some interesting groups oFchords. There are quire a Few compositions within the new-modd type of composition chat keep within this limited palem, but we need more - there are three more sets ol'altered modal chords to investigare and they will be covered i n subsequent chapters. Nexr, we wiil look at a group ofchords t h a t are used primarily for their quality of soland or sonority. These are chords that have obscured modality but imply a modality with their acoustic properties.
SUGGESTED f X f RClSES
1 . Construct the following chords, all mixed spacing. Include chord symbols.
(a)G Phrygian b6
(b)E b Lydian-augmented
(c) G
Mixolydian b6
(d)Ab Mixolydian h4
(e) D altered
( f ) ~b Dorian h 7
CHAPTER VI
Non-Mc
II Ch
A U Note ~
Lnoras
3 . Suspensions
Implied Modality
1) 0lords W n g one or more of the ?h.I*?**" mi3dat dcfin~ng t = , kawing them WI hour ; T e a r b f ---I - - 1 - , : . de.,..,, W Y Y ~ ~ .
-. .".
(a) im
@1
campiefed In the
rnelodr
, -
CHAPTER
VI
KINDS OF CHORDS
1. ADD NOTE CHORDS
becoming a suspension.
2. DELETE NOTE CHORDS - Chords in which a note is deleced to create a chord spacing
A D D NOTE CHORDS
CHORDS DERIVED FROM CADENCES: These are chords chat have a sonority that can be described as having an unresolved quality. They are the result of not resolving the normal voice-Ieading in a cadence. Although they do not have a modal definirion, they have an implied modality, which wiI1 be poinred out when the chord is discussed
M E MlXOLYDlAN SUS
4 CHORD: Derived from the unresolved II-V cadence, the nosma resolurion of the seventh to t h e third i s not completed, leaving the seventh to become the Fourth of &e target chord. Although this chord i s treated like a Mixolydian chord, try t o consider its quality a produrn of non-resoIudon.
Example 6-1:
normal
unresolved
THE SUS 2 CHORD: Derived from the unresolved V-l cadence, chis chord is t y p i d y a sonoricy but acoustically can be interpreted as Ionian.
Example 6 - 2
normai
unresolved
T H E SUS 4, NO SEVENTH CHORD: This chord i s derived from the IV-1 cadence, with the normaIly resoIved 1 to 3 suspended and becoming a 4 of rhe rargec chord. The chord can be
considered Ionian.
Example 6-3:
normal unresolved
NON-HOOLL
CHORDS
MISSING THE THIRD: This c h o d could be either a minor 11or a Mixolydian 1 I- Because a major third is usually generated acoustically, it tends to sound like Mixolydian.
(a)- Csus2
f b) Gus4
Example 6-5a:Sus 2 - D o not include a sixth with this chord, its quality should be smrk mot, major second and perfeft fifth only.
Example 6-5kr Sus 4, no 7 - CIearIy not Miuolydian; include mar, perfecr fourth and perfea fifth only.
The quality tones that are deleted usually are the primary qualiry tones.
2. fiords with a major third, major seventh, or no third or seventh, which imply Ionian
The following examples of boEh groups are typical of chose found in common practice.
Example 6-6:
Missing the sixth, the minor 11 is nor dominant nor is i t Aeolian. It does tend to sound Dorian because of rht strength of the sixth (13th)in the overmne series. The examples (a), (b), and (c) are included here to show the similarities of sound and construction. Keep i n mind that (a) Mixolydian 11, and (b) Ionian 11 are defined enough t o be considered modal chords and are included here purely for comparison.These chords are also to be compared with the previous Miolydian sus 4 chords. Notice that rhese four chords have a 4 or 11 i n common, with the differences being rhe inclusion of a major or minor third and the seventh being natural or flatted
A t this point it should be restated thata chord with a truly definitive modality tvould have alI seven notes of [he scale included. It couM be argued that d chords with less than seven noses
are nonmoda!. For r n u s i d reasons we must compromise, as we are doing now - so we will consider the chord examples givm i n previous (and Iater) chapters as campIere modalities and tht chords consmcced i n this chapter as nmmo&P
campariron.
MDN-MODAL CHORDS
Example 6-7:
(a1 C9no7
(b)C-9no7
(c) Fb9no3
Id) F9no3
( e ) F-9no5
(9 F9no5
Example 6-7a:Compare t h i s with the sus 2; this has a major third and is sweeter, less stark sounding.There is confusion over a snitable chord symbol for this chord. Use root, major second, major third, and perfecr fifth only.
&le 6-7b:The minor version OF Example 6-7% missing Ehe seventh; ic is unclear but sounds mare like minor 7 chan min/rnaj 7.
barnple 6-7c: Thc contemporary voicing o f Ionian,a great sound, used much in slash chord harmony (covered later), u d y seen as CJF.
&le 6-Jd: T h e Mixolydian version of Example 6-7c, could be C-/I?. This inversion was
Example 6-9g & 6-7h: Implied Mixolydian chords with a good ubiceP
There are many more examples i n use; to create some oFyour own, just delete one or two notes from a fully constructed chord, paying a m t i a n ca the resuIting spacing: the combination of seconds, thirds, fourrhs, and fifths, and then the resulting sound and implied modality.
Before creating your own delete note chords, review rhe principIes ofchord spaEing in ChapcerI J I . Striving for a parricular sonotity, use of major o r minor thirds will give you a consonant sound,use of fourths will create starkness, and use of major or m i n o r seconds will add bite.
Mixing the intervds will soften the effect of the indvidual.
M e w I in the appendix, some of t h e primaples of acoustics and you will s e t why some of the missing note chords imply arnodality.To experiment: on a grand piano, pound our an A4, no 3 chord with the 6 8 on rop (E/A),hoId the chord and Iisren intently for the major third to srart sounding a few seconds later. Another demonstration would be to play an EbPsus4 and while the chord is sounding, with a Free finger, play a Gb, then my a E narural. Then just play the chard without a third and listen to hear if a third is generated by rhe overcone series. Try the chord on orher roots. T r y arher chords.
W e now have enough chords in our palette ta rake a break fmrn creating chords and to move
on to creating some music.The first scep is to organize rhese chords into a musical whole... so chord connecdon is the next scep, as found on the FoPIowing pages.
CHAPTER V I
-
SUGGESTED EXERCISES
F-E 1
G hiixolydian k 6
Dsm2 (no 3) ~bll F9 (no 3 )
Bb Mixolydian #4
P4 (1103)
Db44
G Locrian L12
Ab Lydian-augmented
C-9 (n07)
C Phrygian 1 1 6
E9 (1107)
Eb13sus4
G Phrygim b6
E Ionian b4
CHAPTER VII
Chord Connec
'-
I. Pedal IPoint
arkness Contour
4. Cadence
armonic Melody
Mosc contemporary modd jazz composirions have areas where there i s a large number of nondiatonically related chords. Depending on the harmonic rhythm, the areas could be caI1ed vertical modal ar plateau modaL Linear areas have roo few chords to require chord connection, and U-V or tonal areas have predetermined chord connection.
2. HmonicJrhychmic means
HARMONICIMELODIC CONNECTION
There are three categories of connection:
1. A common focal poinr
2. Conmived contour
3. MeIodic manipulation
8. CONTRIVED CONTOUR
An amempt m give an ordered COnEOUr of tension and release ro a set of modal chords,
1. MODAL CONTRAST: Bright t o dark, etc. 2. MOMENTUM: Desire to resolve to Ionian
neighbor
5. CHORD SPACING
Keep in mind that these nondiatonic areas are usually found at cadences, m p s or any area where activiry or tension is desired; there are few compositions rhar have many areas of vertical modal harmonic rhyrhrn.
C M O R D COHNECT!ON
Finding common cones - m a t one needs to know to make this process fascer or Iess painful is the mastic 5wrce of any given mode. To r e v i m the acowtic suslrce ofany mode is the Ionian or drered Ionian with the same flats o r sharps used as the given mode (the same key signature).
T h i s couId be a large number since a single pitch i s not tied to one source.
EXAMPLE: G above middle C has the folIowing acoustic sources:
and so on...
In addition, your choice of chord can incIude any from the seven different modes of each of the acoustic sources.
COMMON TONE
MODE
ACOUSTIC SOURCE
Db Lydian
Bb Mixolydian
Ak Ionian
Eb lanian
G Phrygian 4 6
F Mixolydian
As is shown in the above example, che relationship of the acoustic sources has an effect on the overall sound of the p u p OF chords. In this example w e find rhar a11 t h e source m o ~ are s diatonicalIy relared t o EL Ionian or mAb Ionian. E n addidon, many of the chord spelIings have
CHAPTER V l t
diatonicism In common. This would imply rhar the above example should sound "good," with an overall consonance and an effect of "beIonging" together. Keep i n mind that this is not always the god when connecring a group of chords, char modal contrast and contour have priority when selecting your chords.
With so many options, the student, at this point, should be quite accomplished wich chord spelling: knowing the order oFquality tones, as well as knowing che acoustic source OF any mode. In addition, the studenc should have acquired a working familiarization with the sound OF the chords through daily ear training. T h e ability ro play the chords in many voicings on a keyboard i s a must.
student. It also is the technique which offers rhe clearesr modal conrrasr
1 . SeIect a bass nore within che desired tessirura. 2. Create a melody for the rop notes of the chords to follow.
3. Experiment with various chords that satisfy your musical tastes. You may want to look at the contour part OF this chapter to assist in chord selection.
4. Tweak,
usual.
Example 7-2:
A Phrygian h 6
A Aeolian
E/A
A Mixolydian
Before we go on, it should be obvious that all of the connecting rechniques are to be used i n
tandem: you need to know melodic manipulation t o create the top and/or bass melodies and
you need to know modal caarour to assist i n mode selection. Once you have worked with dl
T h e use of upper srrucnrres is a very imporrant patc of this text and will be covered Iarer in a
chapter of its oivn. Since they are used in common conntxtion, we have co rake an inuoductory Iook at them now.Innershw&res have the same definition as uppers, excepr that they aren't used for chord construmon. They do provide an exotic method OF chord connection and will be of interest to composers ofclassical and/or fiIrn score music.
perceived as a singIe mnady or s o d I r is h i s sound thac holds a group of chords rogedrec as a whole f i e y are dso a key part OF rhe $rip
method of chord consmcrion m be c o d in Ctupret V l l l
CHORD CVHNECTION
in mind that this will be the middle portion of a chord 3. T h e top note of the structure is to follew chis melody.
4. Next, create a bass melody. 5. Play thraagh the example as it i s se far, t a get an indication of the moddigv creared
6. Add a top melody; use common tone on top iFdesired. 7 . FilI in the rest of the chords.
8. Tweak.
C H A P T E R Y11
SUGGESTED EXERCISES
I. Connect with common tone ( 0 on top: F abwe mid C, Dalt, EbA6/9, Ab13sus4, A-9b6, Eb13sus4,D b Lydian.
Use your best calligraphy, use a ruler if needed, use no key signature.
CHAPTER Vlll
Upper Structures
. Jpper Structure
2. The Grip
3. Shape
4. 5/6,6JS 5. Sonority
CHAPTER Val1
CHORD CONSTRUCTION
Chord const-ruction Nich upper structures is known as thegrip or shorthand method oFchord construction. The grip is the actual finger positions o f the right hand when playing a chord. There are seven basic grips used to create all the chords Found in this cexr. With this method, one does nor need to know the theoretical foundation of chord construction to form chords, Hence, this is a quick, "shorrhand" method. This method i s derived From keyboard performance and the chords are typicd of chose you hear on conrernporaryjazz recordings, partirulady by the younger players:Joey Calderazzo, K e n y Kirkland, and Jim Trompeter, to name a few. This kind of chord voicing also is the predominant sound found on fusion, ECM, and new age recordings.
The upper strucmres are a basic three-note group, but a fourth note can be added For further definition ifdesired. Keep in mind chat the structure is a "shape" and a sonoriy. The follwwing is an example oFthe srrucrures and their derivation. [Note;The abreviation US will be used to mean upper strucmre.]
Example 8-1 : Upper Structures
5 ~ 5 2
minor triad
-
major rnad
I
quad
615
4
5/6
augrnenced
I *
z
V
P.
LI
5 / 6 altered
major 7+
minor 7+
minor/major
T h e most used of these strumres are the sus 2, quartal (inversion of rhe sus 2),the major triad, and what1 have termed the 5/6 and the 6/5,named from their intervalic formulae. Also, there is a group of Phrygian upper structures which are derived from inversions of the 6/5.
7.
O f the following examples, the chords with the checks are the preferred and most wed.
Example 8-2: Modal Chords Created With thasus 2 US
6/9
Locrian
14)
Lydran
minor 1 1
6/9
Phrygian
sus.2'
Locrian h 7 Midydian
A6
Aeolian
50
U P P E R STRUCTURES
The 615 and 5/6 upper structures are che ones found most often on contemporary recordings, parricuIarly on ECM, fusion, and pop-jazz recordings. These US require the knowledge o f their root acoustic source lonian mode. This Is found by locating the critone in the US - rhe upper note being the leading tone (7th degree) of the mor Ionian. Yon can also m a c e some interesting chords by experimenting wirh rhe chromatic scale as roots.The 6/5 US i s the basic structure Found in the chords ofharmonic major and will be reintroduced in that chapter.
lonian
Dorian
Phrygian
Pocnan
lonran
Ab tonian
3. T H E 6/5US
A combined mmne and perfect fourrh (six and five semicones)
lonian
Dorian
Phrygian
krian
lonian
E b lonian
Nore char in the above two examples, the US was not a good choice for the construcrion of Lydian. Because Lydian implies another acoustic source, one primary color cone i s missing.
4 . T H E PHRYGIAN US
This is acmaIIy an inversion of the 6/5;i t is so used in its Phrygian inversion that it must be considered as a separate US.
Example 8-5:
*I The named s t m c n w
CHAPTER V I I I
Used often in constructing chords from the altered Ionian b3, melodic minor mode. The grip by itself is a Lydian-augmented chord.It is a ~ e r t i a r y upper strucrure which conrains rhe very definitive augmented triad. The grip is placed on the minor third of the acoustic source. I.e., Eb for C melodic minor.
Example 8-6:
Dorian h 7
Phrygian
Lydian $5 Mixolydian #4
Mixolydian b6
Aeolian bS
alwwd
Hopefully, rhe smdenr has recognized many af these constructions as being found in examples of mixed spacings in previous chapters. Using chis method of chord construction creates the easiest, as well as che best sounding chord, as is evidenced by how ofieen rhey are Found on the latesr recordings.
This subjecr will be covered more in the chapter on three-part upper structures (XIV)and the chapter on harmtsnlc major and melodic minor b5
(m.
CHORD CONNECTION
Chord connection with upper structures follows some of the same principles as given in the section on diaconic chord connecnen,
The principle difference is that where we worked with a single note or a melodic Iine ofsingle notes, rht aural focal point in this case is rhe stnrcrure itself. The sound of che vertical arrangement will be the point of focus.
Because of this, the s n d e n t should remember chat whatever US is seIected for use shorrld remain in the selected inversion chroughauc rhe phrase oE w e . Changing the inversion xvouId change the sound OF the US and negate the common connection.
No~rnaliy~ only three upper structures are used for chord connection: the sus 2, triads, and Phrygian. The sus 2 US is easily the most used in j m and fusion compositions.Triad US use is predominant in pop music and has some use in pop/jrtzz and new age types of cornposirions. AU forms of US use are found in aIl the musics, to some degree.
Mi3HODS
3. Upper strumre fouowing a given melody, with roots following a given melody
4. All of the above with modal contour
UPPER STRUCTURES
,(2)
Lydian
619
(2)
Mixolydian
6!9
Aeolian
Aeolian
Example 8-70: Common US, Bass Melody, Added Harmonic Rhythm, Cadence
fl
Phrygian
Lydian
Mixolydian
altered
Locrian
Aeolian
Mixolydian
POINTS TO REMEMBER:
1. The verdcal -gement
of the US should not change (invert); rhis would change the sonority, losing the common qualiy which binds the group together.
3. As with common tone connection, knowing the acoustic source of the implied modality will assist in reaching the harmonic goal.
CHAPTER Ylll
lonian
Lydian 15
Mixolydian sus
I
r
Phryg~an b6
I
I
Example 8-1 2: Common Bass, Pedal Point
WS
loman
Phrygian
I b*
6
h
Lydian
Mixolydian sus
Mixolydian sus
minor 9
Mixolydian 11
U P P E R STRUCTURES
Example 8-1 7 : Melodic Pamrns, Top: lonian Mode; Bass: Chromatic Scale, t o n m r y Motion
CHAPTER VllT
Constmcr the following chords by the grip method onIy, label h e grip under the chord (516, sus 2 etc.); include chord symbols over the chord.
3. F Aeolian
4. Bb Dorian ..............................
.5/6
4 6
6/5 sus 2
melodic minor
CHAPTER
IX
Compteting +k-
3 Connection Proces
ave
mP
Ion-ttived Canrour
.. Parody Cadence
CRAPTEA
I X
Although playing the prwious examples are harmonicalry satisfying and the chords sound good, they are not exampIes of music.
In order t o make the examples musicd we need to apply aEI of rhe elemenrs of music to the skeleml harmonic scheme: harmonic rhythm^, tempo, harmonic conrour, wirh its implications ofdevelopmenr, and some form af melodic statement and developrnenr.
These will a l l be covered eventually, bur the first step is to give the examples harmonic rhythm.
As mentioned earlier rhe given examples of common connection are used primariry at cadential areas, which would be found ar the ends of sections OFa composition or at other areas that require an increase in tension or activity. They are also found in introductory areas where a statement of the premise o f the composition is desired.
These areas are usually repeated until the effect is clear. The name for this went i s a ursmpz).
T h e first step in our creative effort is to compose a number of these vamps ro be used as starting points in t h e creation of a whole composition.
Recall that the primary emphasis of this book i s on jazz composition rechnigues.
PROCEDURE
I. Selecc your favorite set of common connected chords.
2. Compose or select from the public domain, a rwo bar rh~hrnic pattern - the Bossa Nova is a good first selection:
Example 9-1 : Bassa Clave
5 . Determine where you wane the chords to change on the cIave pattern; it muidbe a change wirh every cIaw change or a change evety m o , or with variations of che clave pattern. In other words, the first chord f o r che first two clave tics, the second chord for the next dave
tic, e tc.
chords which shows contour and develupmmt 21 &pea& harmanicJrhyrbmic Fiwre, usually 2 ro 4 b m in length which fo2lows a preset rhythmic parrern called a &we. There is a metodic
motiCin the bass part and a rccurring set oFhamton~cally relad chords. Vamps am found ar
d e n d areas, turnaround arc= and the incroducroryand ctasing
areas oFa composirian, or a n y h e m
COHPLETIWG THE C H O R D C O N H E C T I O N P R O C E S S
b m p l e 9 4 : Common US on Top
CHAPTER I X
CONTRIVED CONTOUR
MODAL CONTRAST
This is where we use the order of darknessbrightness of the modes. It i s an attempt to give a sense of contour to the chord-to-chord relarionship.
If you recall thc m o d d cantour of the traditional didtonic cddenre, ic is Dorian-MixolydianIonian. That is an order of dark, brighrer to brightest It is also an order of less stable ro most stable. And being in the diatonic system, it is a satisfaction of momentum: the desire of the chord roots ro cycle to the tonic root.
Although the harmonic vocabulary of this book is mostly contained in a chromatic environment, we can use the diatonic cadence as a model for obtaining harmonic contour.
The options include root mowmenr: of a fifih but wirh a modal relationship other than chat found in the diatonic formula; the diatonic modal formuIa with chromatic root relationships and both chromatic root relationships; and nondia~anicmodal selection but with the $arbness/brightness foIIowing that of rhe diatonic use.
The most used process is to simply conmast che brightness/darkness oFthe modes to obtain
a sense of contour and deveIoprnenr, without any reference co the diatonic system.
Example 9-7: Modal Contour
I
btighc -dark
-==
release
= = = = =
(a) Typical use: increase of tension to a release. Conmary directions of the top and bass melodies enhance the effect A skip o F a third, fifth or tritone co the release chords is recommended. Lastly, notice the change of chord spacing.
@) Use of pedd poinc o v e d rneIodic dkecrion downward. Use of rritone skip to final
release chord.
Example 9-8: Parody o f Diatonic Cadence (Il-V-I)
(a) Mixolydian b6
Fhtygian
Lydian 15
c-= AL
*
(b) Dorian
Mixolydian
P
Ionian
MELODIC MANIPULATION
1. TOP MELODY
Not the actual melody ofa composition, but the melodic shape or contour chat a11 rhe top notes o f a group of chords, if spelled out, would create. Of course, we are going to work in rhe opposire way spell o u t our chords to follow a preset melody.
2. BASS MELODY
The actual melodic qudity of b m p a x if played by itself. Because the nondiatonic modal sysrern we are working i n is not tied to root movements of a fifth, we need to work the xmal melody of a cornpasition. with our bass rneiody just a if it
3. RECOGNIZABLE PATERNS
Creating a set of chords that foUaws a melody which is easily recognized by the listener is a quick and easy way rw gain musical accessibility.Symmetry just pIain "sounds good," But you must use ir conserva&ely, as it can quickly become contriuidity.
Another approach is to use an asymmetric source which is farniIiar to the listener: a mode or terrachord or any hown melody or melodic fragment.
4. MELODIC EFFECTS
Lastly, following rhe conceprs of melody writing (as found in Volume Z), you can create
a contour by manipulationd r h e intervdic relacionships and by working with the overall
CHAPTER IX
SUGGESTED EXERCISES
1. Compose four 2-bar claves. 2. Compose a +chord vamp, using sus 2 US with a composed bass melody.
3. Compose a 4 to 6-chord vamp using compound meter, with your choice of US;have the US FolIew a given melody and rhe bass be pedd point. 4. Compose an &bar harmonic scheme, srarting with a 2-bar vamp, with the remaining six b a s showing use of mrnrnon tone, pedal point, and modal contour. Use at least six
chords.
one. Create a result you Iike so much you wanr: to play it for someone.
C h ~l r ER X
Form
1. Song Form
b.
I---.,
>. .
. . . .,. I . - - - . - . .
- -...-
,Ii
.<: L :
, ,
. .
- - -
--
.cr , ,; -. :-a=-
,. = -.-,? . , ,
..*-: .-.. .
.= . , . : ,
.>
. * . I > . : . ., . -
: <<.
z L
s:.:,*
. * $
: - --
med earlier in the t m ,most of the compositions in che free chromatic rnodd g are also firee in their form. This freedom also means chat you are free to use rradiciond f .&you so desire. Although most OF h e compositions are free-form, some are still omanized,hy if the composition has ties m traditional style, lilre the nea the song form. Parti&ly kind of aom posidoIn.
C7
auiur U L ult. l u r n m
-2- C A I
G FORM
11ysymmestic,
..
with 8 bars per section, following the traditional MBh, d peac, a new s d o n then a repeat ofthe first A section, giving a rota dons are u s d y i n the use of varying the bar numbers of the sectio
aculuu.
2 .M R (
: > n s ,
* I !
IMPOSED
of which can be rmeated. S has drhough not direct repetitions, are obviou
lout
ha^
enr.
CHAPTER X
SUGGESTED EXERCISES
Listen ro eight of the compositions lisced in the discography, plot their farm as AABC, ABCCDA, or whatever the form is.
Example: "Pee Wee" by Tony Williams f r ~ m B e Smerer, Miles Davis - through composed, 21 bars
"Masqudero" by Wayne Shorter from Thc Sorcerer, Miles Davis rota1 = I&
- ABC, A
8, B
6, C
=4
CHAPTER XI
Harmo~ Con
i a m o n i c Khythn
2. Repose
3. Transition
4. Climax
5. I
solution
CHPrPTER X I
METHODS OF ORGANIZATION
1. Common tone connection
2. Common upper structure
7 . Point of cIimax
8. Relationship of first to last chord
3. Transition - Areas with nvo or mare chords wirh different roots, or chords of short duratian, usually changing one bar or Iess depending on tempo. These are the areas of activig and are usually vertical mo$aL Tonal harmony is also found in chese areas.
4. IF repose areas are long, a bass part vamp may be needed to add rhyrhmic interest.
5. Transition areas shoutd be devised to increase tension just prior t o a repose area+
CADENTIAL AREAS
1. Should be placed jnsc prior to repose areas or at the ends of phrases or sections. 2. Use darkness/brighcness for longer areas.
3. Use momenmm, 11-V, TI-v-1parody cadences where smong "finality"is desired
4. Use melodic rnanipuIation to enhance rhe above or where subde contour is desired
'POINT O F CLIMAX
It should be mentioned, now, that a main goal of the harmonic coneour is ro provide h e
improvisor with a "map" EOassist in creative development of the improvisation The harmonic and rhyrhmic contour should be designed with that in mind
A point of cIEmax, a place where the emotional intensity is ar its peak,should be plomd Refer cothe following examples for an indication of general area of place men^ I d d y , the decision will be made by rnamre musical j u d p e n c UsuallyIrhe c l i m a x is found ar the end ofthe most intense transidon area T USE prior ro lche most relaxed repose area.
CYCLIC FORM
Again, with the improvisor in mind (who most likely will b e y ? ) , in order t o make it e a s y to punctuate a chorus of improvisation and allow the setting up of a new chorus, it is recommended chat the first chord and the last chord ofrepeated sections relare in a w a y that assures an easy access to melodic voice-leading. The clearest means is For the last chord oFa section have a dominant function to t h e target chord (firsr chord OF the repeated section). The last chord should be buiIc on a loot that is a firth away, a tritone, away or of an upper o r a lower neighboring tone with a modaliry that is darker or has less stabiliry than the target chord. For exarnpIe, if the First chord of a section is F Lydian-augmented, rhe lasr chord could be C
HARMONIC COHTOUR
Mixolydian sus 4, C Phrygian, E altered, or G b-1 1, to name a few possibilities. There are many techniques for doing this and more will be given in later chapters and in following examples.
Creating a harmonic conrour is the process oforganizing the chords, connected wich devices from the preceding chapter into a complete musical whole. Not d l rhe techniques will or should be used. The god is to create a set of chords that are beth musical and "playable." Armining beaug with simplicity is an amibute that is acquired with rnaturky.
Before you are to create your own complete set of chords for a composition, we Will analyze a number of compositions to see how the composer accomplished the above procedures.
Look for a general melodic concour of che top notes of the chords. You may need some chords or change t-fie canstrucrion method ro give smoother voice-leading.
to
invert
When satisfied, wrire down only the cop and bass melodies and any pertinent harmonic dam: common US, important color cones, etc.
Analyze the bass, then rhe mp melodies.
CHAPTER X I
&ern clearly plateau modal and the third almost within the linear modal category. In addition, rhe Ersr chree of this p u p are more "traighr aheadn player's tunes, each with subtle
ties ro qualiries that are cypical of
bebop tunes.
The last mne of this group is representativeof the European-influenced ECM svle olcornposition, with a few subtle references to Arnetican fotk harmony. Each composition ro be analyzed will have an exampte of the chords spelled out with harmonic rhythm but nor all the rhythmic fipres. T h e example should be sufficient for reference. Also, the chard spellings are not direct transmip~ions bur quire close in mwsr cases.
In the actual analysis with comments, using the harmonic synopsis as rehrence marerid, one could get very deraiIed wich compositional analysis, with references t o all the esoreric theory merhods at one's disposal. Shenker anaIysis, the "Lydian Chromatic Concepr," etc. The thrust of the following is to "ger to the poinif and keep it simple.
In addirion, keep i n mind that the goal OF harmonic contour analysis is ro discover how the composes of these great tunes used the merhods thac have been given in previous chapters of this textbaok.
7, RUTH"
- RON MILLER,1969
This composition shows an influence of the Herbie Hancock tune "Little One," found on the recording Madm Voyage-Irs pcedominant theme is that of gentle romanticism, E ri s a throughcomposed waItz, 36 b a s with no repeated sections. Its harmonic rhythm, fairly symmetric and fasf, can be described as vemcat modal
Example 11 -1:
13
14
75
16
17
18
19
20
21
22
(8 bars)
COMMENTS
A. BASS MELODY:
CHORDS:
1-3 46
H A R M O N I C CONTOUR
...repose, slightly higher center, preparation Far acciviry very active transition area, dominant cycle sequence or 10-12, increase of rension inversion of 9-10 very relaxed repose area with Iow tessimra melodic figure, occurs always, acts a s signpost or "hook,"also short transition ro... long repose area, root has desire to resolve c a. . . the first chord of the m e
...
B. TOP MELODY
CHOrnS:
1-6
7-9
common tone connection upward mebdy, increased tension continued upward trend, increased tension, 11-12common cones sequence of 10-12 common rone connection downward flow, relaxing, 16-21 Ab Ionian recurring melodic idea, signpost or "hook" doubling of bass emphasizes sense OF finaliy
CHORDS:
common inner structure common diatonic source - Bb Ionian,Ab Tonian 5-6 chords voiceled 7-9 darkest area, diatonic source: Eb Ionian cycle, wry active, serting up the.. 10-15 quasi-dominanr: 15 . . . point ofclimax 16-18 upper strumre trirone pattern - Db/Eb, G/Eb, Db/E6; diatonic source: Ab Ionian 19-20 no chord - '?lookn melody, poinc OFreference fmal chord, exotic yet dpminant sound, desire to resoIve to first chord 2L
3-6 1-4
D. GENERAL QUALITIES,
EMOTIONAL CONTOUR
- Bb, Eb and ~
b impIied , cyck
gende, romantic dark and mysterious increase acdvity and tension, almost swinglike quire romantic point of rehence
exotic, "colors" area
I) k n y Golson cornposi~ion
The above e m o t i o d contour provides a dear "map"for the improvisor as we11 as the listener. Keep this in mind when creating your own ser of chords. By mapping out the diatonic acoustic sources orall the char&, one mn both gain an insight into the harmonic contour and determine a source of substitute chords. As an example, the first chord, F13sus4 implies F Mixolydian with t h e source ofBb Ionian, so che first chord could be Eb Lydian, D Phrygian or any of Bb Ionian's modes. The second chord, F Aeolian's source i s Ab lonian, so che substitution of an Eb Mixolydian 13 for that chord does work well, i n f a n it is used ocsasionalIy t o get a "Killer ~oe'") sound,
CHAPTER
XI
F Aeolian
F9sus
I3b Dorian
G Phrygian
DJsus
E7sus
Gl3sus
Eb Lydian 8.5
~bgsus
HARPIONIC CDNTOUR
bb
Lydian
10
11
lonian
Lydian b3
lonian
Lydian b 3
lonian
COMMENTS:
A. BASS MELODY
CHORDS:
repose, with pedal point, the ~b is diatonically related to the C pedals, both are related to Bb melodic minor 6 - 7 a short transition area, d o w n u d flaw, heading For... 8 - 11 ... an ending t o the first emotional area 12- 15 four note motif, new area, new mood 16-19 repeat OF 12-15 20 exrension of 19 for cadenrial purposes
1- 5
CHORDS:
1- 9
10-11 12- 15 16- 19 19-20
diatonic melody derived From primary color tones common tones upward contour, positive building of intensity, Spanish tetrachord repeat o f 12-15 common tone by repetidon
C. HARMONIC MATERIAL
CHORDS:
1-5
6- 7 7-8
1) h r n in 77n DOGT CCDP 95738
8 9 10
CHAPTER
XI
the dominant V chord o r the next section 11 12- 13 parallel chords, implied plateau modal parent source is harmonic major (see Chapter X V ) 1 4 16- 19 repeat of 12-15 closest there i s to a point of c l i w rather subtle 19 20 cadence through repose, as last chord, resolves t o first chord as upper neighbor and
diatonic relation
0 .GENERAL Q U A m E S
I. There are similarities between this tune, "Ruth," "Pee Wee," and "Helto Goodbye": root
relationships, emotionaI effect, and similar key cenrers. Looking them over, try determine the common source of inspiration.
KI
2. The emotional, mapping is simple with two areas: she first, chords 1-11 a little dark and subdued because of its genera1 modality and because of irs slorv harmonic rhythm wirh repose by pedd point and because of its having lirrle b a s melodic contour. Chords 12-28 ate mare active both modally and by bass melodic contour with faster harmonic rhythm
3. Another through-composed rune, the form is symmetric w i t h two semons: A- 14 bars and B- 1 0 bars,
Example 11-4: "Mikellks by Joey Calderano
Phlysirn J6 Phtygian b6
Phrygian \6
Lydian
Phrygian b6
Locrian b2 Mixolydian
minor 11
minor 11
lonian
(Lydian)
Mixolydian sus
lonian
Lydian b3
Ionian
aIonian
lonian
Lydian b3
lonian
nAanoNlc
CONTOUR
3. PEE WEE'"
TONY WILLIAMS
This gentle waltz has symmetric harmonic rhythm and has a few areas o f quasi-Functional chord movement, which i s typical of a composition that is rransitional From tonal to modal
chromatic.
Example 11-5:
3
1
9
I
Pedal
Lydian
I1 u
lonian
Mixorydian
Mixolydian b9
lonian
Aeolian
Lydian 12
Mixolydian
Lydian #5
Repose
A. BASS MELODY
CHORDS:
1-3 4-7
repose area (pedal point) chromatic, Fairly slow transition area, increase oF tension
8-10 repose area 11-12 transirion with cycle of M h s 13-14 repose area 15-17 transition with signpost "boor occurs at all times, including improvisarion (see "Ru~h" and "Teru") 18-19 last repose area 19 resolves t o first chord by modal shift wirh pedal point
3 .TOP MELODY
CHORDS:
1-2 3-4
5-7
8-10
11-13 13-14
15-17
1) 7 7 S ~m ~ m r Miles Davis
17-19
common tone chromatic melody upward inversion of 5-7 sequence of 8-10 common tone strong leap downward, cantrary motion to bass melody, a "hook" motif, a~ found in many compositions form of inversion of 15-17,a remm co starting place
CoIurnbia CS 9532
CHAPTER X1
C. HARMONIC MATERIAL
CHORDS:
1-3
common US, cryptic cadence, (see Chapter XPII) quasi 11-V(D-7 t o 67b9 KO C-T) cycle of Lydian chords repeat of 8-9 common inner smucture, point of climax tritone related common US ( F / G ~ t o B/Db)
D. GENERAL qUAUTIES
1. In spite of its symmetric harmonic rhyrhm arid itr ties t o funcciona1 harmony, this is a &ff~cult t u n e to play.
2. The 3-bar phrase a t the end i s unusual, giving the tune a 21-bar through-composed form.
3. The emotional contour is_ nor e x m e , but the inserted cycles do give the harmonic
rhythm a bocsr.
4. Ir seems to have been composed purely by intuici~n, without much pre-planning.
Db Lydian
0 5 Lydian 1 1 5
HaRHONIC
CONTOUR
altered
Mixolydian
...........-
lonian
Lydian #5
COMMENTS
A. BASS MELODY
CHORDS: a f 3 1 bar of Gb Lydian at the slow tempo shows repose
I 2-3
4-9
10-ll 12-13
14 -16
17-19
20-2 1
an imporcant "hook" or signpost of the composition an acEive ttansition area with an active bass mebdy downward, rehation toward the cadenrid repose area pedal point bass repose area, cycles to Erst chord by lower neighbor tone (leading-tone effect) pedal point repose area increase of m i o n wirh upward and acdve transition area, f i e staccato on chord 19 effectively sets up the release o f the tension at bar 20;the downward minor third skip ro chord 20 enhances the result the final repose cadence, rhe last chord cycles co the first by upper neighbor tone
6. TOP MELODY
CHORDS:
primary color tone contrary motion to bass is effective in increasing tension 49 definidon cones 10-11 common tone connection 12-13 common tone connection 14- 1 6 d o w n w r d resolution of melody clarifies modal cadence 17-9 color tones 20-22 sequence of 14-16
1 2-3
CHAPTER
X1
CHORDS:
2-3
49
17-19 20-22
20-21
bright but tense a form of 11-V cadence, derived from a voice-leading method a good example of modal conrour and IT-V cadential parody, the Phrygian t o Mixolydian ( 4 5 ) is a diatonically related cadence, with the acousric source being C Ionian. The Phrygian could be choughr OF as D Dorian over E, so it 1s a typical U-V with substituted root f o r the II chord The Mixolydian to Ionian (5-6)EoIlows the normal modal conmur ofa diaton~c cadence bur with free-form coots parallel Mixolydian chords moving a minor third i s typical a dominant cycle of Mixolydian chords another parody cadence modd contour, parwdy d e n c e V-1 parallel chords, cEosesr rve have t o a climax at bar 19, effecrive for setring up the FoIlowing dark area like 14-16 bur more extreme in modal resolncion the darkest part of composicion
D. GENERAL QUALITIES
1. Good variety and contrast of the modes. 2. With a quite chroma~ic bass melody and short or no clear areas of emauond definition, this is vertical modal.
Gb Lydian
CI
F Aeolian
El 3no3rd
Phrygian
3 -
minor 7 1
MixaIydian sus
C13sus
Ll3sus
lonian
Lydian $5
Locrian h2 minor 11
I4ARMOHIC CONTOUR
Mivolydian
Lomian C 2
sus
Lacrian bZ Mixolydian
Aeolian
70
71
12
13
(8 bars each)
(8 bars)
COMMENTS
This being a plateau modd composition, the only significant harmonic movement is in the bridge, which is vertical modal.
A. BASS MELODY
CHORD: two plateaus oFAeolian, a whole tone apart, the downward change creares more dark1-2 ness, a tritone skip down to next chord creates tension 4-5 drone skip, inversion of 2-3 3-8 a general upward mend, preparing to ser up a point o f d i m a x 7-8 sequence of 5-6 9-12 a definite stansition area, the movement is faster, upward, foIlowing a Dorian tetra-
chord
12-13 the normal resolurion here is for the melody t0 resolve up a semitone, rhe skip is un-
exped
3 .TOP MELODY
CHORD:
1-2 3-4
4-6 7-8 9-12
common cone
common tone upward movement, Ionian tecachord, serting up climax highesr: poinr in the harmonic melody, dramatic
13
C. HARMONIC MATERIAL
CHORD:
1-2
3-4
4-6
7-8 9-12 12
plateau Aeolian, dark,soft strong contrast, bright, tense, hard D b/D to Gb/Ab, cryptical cadence D b to Gb V-I US,chords 5 and 6,common US except Far one note of voice-leading Gb to P sequence of 5-6, up a miner third, overall posiuve resolution fasr moving chords, all sus, positive, sets up climax point of climax
CHAPTER X1
12-13 a kind of cryptic cadence (see chapter on slash chords), with a lower neighbor resolucion with the upper strucmre and a minor third up in the bass, a kind of sequence of 5-6
D. GENERAL QPJALmES
1. Dark, ECMish feel, New York Qna drizzle
2. As i s all plateau modal tunes, rather simple, bur nice to "blow" over
1-2
3-5
5-12 13
darkIy "hipnto darker slightly "wrinkled," gercing hopehl doubthI love becoming full of hope
dramatic
5. The rnaduhcion, change of key from the opening A A e o h ta the ending Bb Aeolian, contributes to the overall dramatic effecc of this rune and was a strong Factor in the plan of arrack when composing it.
kample 11-10: T h e tieb" by Ron Miller
G Aeolian
O D b Lydian 42
D Lydian #2
Afi
Mixolydian sus
G Locrian h2
B Mixotydian sus
Bb Locrian b2
Esus
Rus
Gsus,
HARMONIC CONTOUR
6 . IC
Example 11-11:
Mixolydian h4.... Mixolydian qQ.........
Mixo!ydian W
Mixolydian h6
min.1 1 Mixolydian...........
Mixolydian b6 Mixolydian
rnin.7 1 Mixolydian
............
outline of a diminished triad, or a skip down a micone, cycling back to the starting note by minor thirds 46 common tone bass 7-9 passing tones to the czdential B root, notice that the entire bass melody of the A section could be derived from the diminished s d e 10-12 relaxed, downward contour, set* up an active area 12-14 a 11-VcycIe,12-13 t o a substitute I chord (parody cadence) 15-16 is a signpost '%hookn 21 referring ro 13-14, the resolution ro the C i s dramatic and sets up the turnaround ro
3-4
resolve co Ab 22-24 derived from 15-17, this is set up to resolve to the firsc chord of the tune
8. TOP MELODY
CHORDS:
1-6 derived from color cones or voice-kading 7-9 contrary motion to bass melody, enhances cadentia1 quality 10-12 chromatic down, 10-31 a form of voice-leading 12-1 4 voice-leading a 11-Vt o parody V-I 15-17 contrary metion 17-20 same as 10-13 22-24 secting up firsc chord of t h e composition
CHAPTER X I
C . HARMONIC MATEREAL
CHORDS:
1-4
46
7-9
10-11
12-13
14 15-16 17-20
21
22-24
pardlel Mixolydian chords, 4 bars each, this is pIaceau modal the common use OF Mixolydian \4 ro lMixolydian 84 to Mixolydian b4, ir creates a positive emotional effecl: due to the brighrening of the fourth a minor third up is a very positive and typicd resolution of Mixolydian sus chords {remember "Maiden Voyage"?) raking the G Mixolydian b6 co be a C-A over G,this is a cvptic 11-V cadence, the cadence being C- r o Fsus a diatonic II-V, this parr is in fact a swing styIe section showing a rie zo a traditional hard bop aesthetic a substitute urger chord for the E-V a turnaround ro. . . ... a repeat of 10-13 a higher t a d center of chord 14, creates drama a turn down t o top of tune, the note durations are set up to create cension which resolves wizh the first chord of che tune
a. GENERAL QUALITIES
1. Having symmetric plateaus oFessentiaIly rhe same mode, this is an example of plateau
modal, same mode. In addition, because each plareau has the same mode, the tune is similar to linear modal i n that there is one overall emotional, effect. So this tune, like so many inspired by "Maiden Voyage," has the same emotional qualities as "Maiden Voyage" wich subtle differences. Refer to "Why Wait" by StanIey Clarke, '"Twelve More Bars" by Wayne Shorter, and "Follorv Your Hear? by John McLaughlin.
2. The tempo, rhythm section style OF playing, and the U-V sections make this a "blowing tune, i n t h e hard bop tradition.
HARPlONlC C O N T O U R
Example 1 1-1 2:
Ab Mixolydian wr
A
D Mixolydian sus
F Mixolydian sus
Ab Mixolydian b 4
B Mixolydian 5us
Mixolydian b6
F Mixolydian sus
A13
Bb sus
Csus h
mMixolydianb6
Bb sus
F Mixolydian
E-1 I
Asus
A13
Csus
CHAPTER X I
7, PUMPKIN"
- ANDREW HILL
This very hip and dark composition almost fails i n the linear modal caregoy. It is basically song form, but the A section has 10 bars. Addinonally, ir has a functional harmony (11-V-I) bridge and is a great example oFa modal tune with ties ro the traditional bebop aesthetic.
Example 17-13:
T 7
.
8
( 6 bars)
COMMENTS
A. BASS MELODY
CHORD:
1-3 4-6
7-9
a repear of 4 6 10-16 being m n d harmony, the melody is diatonicalIy related, defining the cycIe ofkeys: Eb to Ab to Db with the resolution t a Db made with tritene substitution
6 .TOP MELOOY
CHORD:
1-3 4-9
correct voice-leading of functional harmony active motive of the uhook" 10-15 again, wice-led functional harmony
C. HARMONIC MATERIAL
CHORD:
6 bars of D AeoIian, clearIy perceived, this i s linear modal, the emotional quality of
Aeolian: dark and melancholy, is additionally tense due m the very a t t e m p ofthis tune a turnaround cycle common upper srrucrures
2-3
4 3
H A R M O H I C CONTOUR
10-11 cycle of Ionian chords 12-13 rritone substiturd 11-V t o Db (sub for Eb- to Ab13) 14 completed cycIe of the key centers: EL ro Ab to D b 15-16 a "stand alone"W , resolved melodically, nor: funcuondy
D. GENERAL QUALITIES
1. Because of general modaliv, ~rempo, and rhythm seccion style of accompaniment, chis is avety sophisticated compositian wMe sdlI being fairly simple in cansmction. This rune could be described by purists as the "real thing." Referring to the "Tree O f Composers"in the appendix, you can see rhat Andrew H a is influenced by M o k This tune is evidence of that.
2. Because oFits ties ro madirional bebop, this is a good "player's m e , " but it i s verydifficuIt
M
play.
3. Thc emotional map is simple with three parrs, t h e dark Aeolian section, the quirky *honk" vamp and the energetic exvbemce of the 11-Vsection.
Earnple 11-14: "Pumpkin' by Andrew Hill
D Aeolian
CHAPTER X I
(2)
Mixolydian
(Z)
Lydian 15
lonian B6
Lydian 15
Lydian 85
Phwian
(2)
COMMENTS
A. BASS MELODY
CHORDS:
1-2
downward
3-4
45
6-7 8-9
outline of a C major triad, increase of tension with the skips pedal point, clgar modal contrast and resolution
8. TOP MELODY
CHORDS: 1-3 common tone connection 4 - 6 general upward trend to increase cension
6-8 8-9
C. HARMONIC MATERlAL
CHORDS:
I -3 3-4
5
6-8
8-9
common inner structures abrupt increase in tension (index =? 1 to R 8) use of exotic chord, Ionian b6, harmonic major (see Chapter XV) good example of tension index contour, the increase in tension setting up the final cadence crypFic cadence, upper smcture resolving dotm, index 1 :9 to R 1
D. GENERALCOMMENTS
1. The overall tension cantour i s derived from an inmasing compression of che harmonic
rhychm.
2. Good combination of tense,stark modes and clear open nonmodd chords. Ic sounds like i c was composed on the guitar.
C-IARHONIC
COHTOUR
1 . Through-composed, with symmetric sections, but not necessariIy even numbered bars.
2. Modal chord movement that is easily voice-led.
3. A chordal o r melodic figure chat offers a signpost, or "hook" for the listener and improvisor.
4 A clear point ofclimax, note any similarirks of climax location in the previous examples.
Review the previous composirions wirh rhe above in mind, ask if, in fact, rhe compositions satisfied the proposed guidelines.
CHAPTER X I
SUGGESTED EXERCISES
1. Using the included set oFchords for the composition "HcIlo Goodbye," analyze as i n the previous examples. ''Hello Goodbye" i s composed by bassist Ron McClure and Found on the recording The Sun and Moon Have Come Together, (Harvest SKAO-423) by a group caUed The Fourth Way, wirh Mike Nock, piano; Ron McCluse, bass; Michael Whlte, violin; and Eddie Marshall, d m .
2. Look at rhe included harmonic synapsis of the composition "Litde One" by Herbie Hmcock. Compare this with "Rurh," 'Mikell's," and " H e o Goodbye." Make as many cornmenm about similarities and differences as you can. T h e tune is found on Herbie Hancock"~ Muidea Voydge recarding if you wanc t o hear ir for reftrence.
3. Analyze any composition of your choice, one that you find redly inspirational.
At this point ic is time to create rhe first composition based on the concepts a the previous chapters. In addition, you should analyze the finished C O ~ ~ ~ O S as ~ R this O ~is , of great benefit in pointing out both strengths and weaknesses as w e 1 1 as helping to clarify a developing styIe.
HARMONIC CONTOUR
altered h6
altered b6
Phrygian h6
I d
A
*eolian
Mixofydian
altered h6
altered b6
Lydian
Lydian 1 1 2
minor 1 I
CHAPTER
XI
US
Solos
F(4)
F Aeolian
F(4)
FAmlian
Phrygian
d-11
Phryg~an h6 Phrygian b6
~ 5 9 ~ s F-1 7
G-1IfF
R (Vamp)
T (min.3rd)
II -v;
C PhrygianlF
Aeolian bS
C H A P T E R XI1
c Minor)
CHAPTER XI1
Using Ehe tetrachord method of consrruction, the remaining three tetrachords are used in the construction process: harmonic, Hungarian major, and Hungarian minor.
Because of the amount of alteration, the order oFdarkness is nor obvious by looking at the
retrachord formulas. The best process is to compare each mode to its immediate predecessor and determine its quality by rhe aIreration. As an example, Aeolian b7, having the seventh sharped, would be brighter rhan Aeolian. In addition, the number and placement of tritones in the mode will affecr its stabiliry. Norice rhat Aeolian b7 has two critones: D ro Ab and E t o B. This would make it more active than unalrered Aeolian. T o restate: Learn to hear these modes and their chords as a form of alcered Ionisn (Ionian $5 or Ionian b3, b6).
Gcarnple 12-1: The Modes aF&e Altered Diatonic No. 2
Aeolian 4 7
Locrian h6
lonian B 1 S
altered bb7
T H E M O D E S A N D C H O R D S OF H h A H W N l C M l H O R
OF HARMONIC MINOR
These are mixed spacings which include use of the grip methad of chord construcricn.The following tabIe of coIor tones is derived again, by camparison with the parent Ionian mode.
i
THE TABLE
At least rhe fmt t h m of the cones are needed to define the mode. The order of the l a s t three
i s noc strict.
CHORD EXAMPLES
1. AEOLIAN h7 - A brighter form of Aeolian, but less stable. One of the most used of this
Example 12-2:
C-A $6
A Aeolian hi'
2. LOCRIAN Q6 Brighter than Locrim b6, not seen too much, it could be used as a substitute for auxiliary diminished.
Example 12-3:
Locrian h6
3. IONFAN #5 - Tends co sound like Lydian-augmented b 4 ,so it is a s o f t e r s a ~ n d i n Lydian~ augmented or a less stable Ienian 44. It can be used as a substitute or a Lydian-
4. DORIAN 1 1 4
chord is found i n the Horace Silver tune "Sweet Stveery Dee" from Silver's S m a d e .
B Dorian 9 4
5 . PHRYGIAN b 3 - A brighrer Phrygian, it can be used with rhe auxiliary diminished scale.
G Phrygian 43
E7addb2
6. LYDIAN 12 - Mosc often used as a slash chard (VII/I). Note the optional substiturion for
&mished scale aver a Mixolydian 99 chord (chord 2). This chord is aIso known as diminished major 7.
a
Example
12-7:
D Lydian $2
DOA
- 92
CHAPTER XI1
SUGGESTED EXERCISES
I
I
1. Construct a number OF chords with all spacings; include a number of grip method
consrmctions.
2. Play all the chords with an ear training goal in mind and try t o identify their use on
recordings,
THE
M A A H Q H I C HIWOR
7 . ALTERED bb? - Its best use is as a slash chord (vr/I). It dso is closely related to she Mixolydian b9 chord and can be used rhac way.
Example 12-8:
C altered bb7
This group ofchords is rhe first of the groups of esoteric modes and chords. Harmonic major and melodic minor 85 are the last two. The theorist experimentalist among you might warn to work with the rnodes/chords of Ionian #2 as weU. Although rhe modes of harmonic minor have been used in improvisation the chords are not found that o h n i n compositional use. The chords ofharmonic rnajor and melodic minor 1 1 5 (Ionian b3,#3) are used by only rhe most adventuresome of today's composers. David Liebman, Richie Beirach, Ralph Towner, Kei& Jarretr, and Joey Calderazzo occasionally use these chords. Check out their recordings.
The emotional description of these modes can be determined i n the same way as with aU the alcered modes: thac of raking the descriptions of the parent unaltered modes and considering the alceration as an enhancement. As an example, Phrygian b3 is brighrer than Phrygian 46, both brighter than Phrygian b6. The brighter the alterarion, the higher the degree of rension. Phrygian 66 is considered dark and mysterious, Phrygian \3 is not as mysterious due to i t s more " o p e n : bright qualityI bur i s stdl exotic. Since there are multiple alterations in the last three sets ofchords, clear categorization is not so easy. It is best to group the chords by ear.
Before we construct the modes and chords of the remaining two p u p s we will look ar one more harmonic connecdon/composition technique: slash chord harmony.
CHAPTER Xlll
Slash C
!. Polych
3- <
4. Sy
5. Tension C
CHAPTEA X l l l
Slash chord harmony reEen to the harmonic style in which the chordal relationships and overall development can be applied separately rw the upper structure and bass parrs o f a group of chords. A slash chord is a m p a r t chord made up of an upper srructure over a bass nare. T h e "slash"in the name refers to che standard chord symbol For this kind of construction: a lercer representing rhe upper chord's tonality and a lercer representing a single bass pitch, separated by the slash character.
EXAMPLE: E/C, A7/P, Db/C, eEc.
Slash chords differ from polychords in that poIychords are nvo- or three-part chords i n which each part can be a whole chord. The notation for a polychord is a lerrer separated by a horizontal line.
EXAMPLE: D
C7
D-9 GCb
-
Ak F-
Iris the slash chord thar is used most oFten in modal harmony and,in addition, it i s the major triad chat is irs upper structure. The emphasis of rhis chapter is on slash chord usage with triadic US.
CHORD CONSTRUCTION
The construction of slash chords follows the same process as Found in the chapter on the grip merhod. If you refer ro that chapter you will find rhac t h e basic rnajor triad in first inversion is one of the listed grips, A n entry level grip, the triad a s upper structure has predominant use in the harmony of pop and pop-jazz compositions. The sonority of a consonant triad over a root i s stark and sametimes creates missing note, non-modal chords, but has a desired beaury because of i r s transparency.
To comrmct slash chords, it is suggested char the student learns the ratio of upper structure
to root and its implied modality. As
In addition, the chords are placed in an order ofincreased rension as determinedby subjective class poll. Because all ofthe upper strucmres have the same sonorig, their order is dfecred by both modal contour and sonuric tension/relaxanon.And because the rnodali~, in most cases, is obscure, the tension order has priority. L e a n the ratios and the tension index number. Example 13-1: Slash Chords
Tonian
Mixolyd~an Lydian
Aeol~an
Lydian 95
tocrian
Lydian !2
CHORD CONNECTION
Since the means o f chord connecdon for upper structure chords have been covered in a previous chapter, only rhe new methods, pecuIiar to slash chords, wiIl be shown in this chapter. Review the methods in the chapwr on upper s m c t u r e chord cannection if needed. The additiod methods used in this chapter are rhe resulr ofrheway that ghaups OFchords with transparent sonoriry need ro show a sense of development
HETHQDS O f CONNECTION
1. Common upper structure
2. Pedal poinr
3. Modd conrour
4. Tension courour
6. Symmetric patterns
TENSION CONTOUR
R~ferring to the tension index number rather than the modal contour,this is the organization of a group of chords, usually three to six, that follow a preset conrour of tense to relaxed, relaxed m cense, or a mix BE the m o . Note that this technique is used most in areas of transition just prior to a repose ama,bur could be pIaced anywhere. You must bear in mind the effects of other musical elements: tessituta, harmonic melody, harmonic rhythm, and tempo when composing these.
Example 13-2:
TENSE
MO!X TENSE
REW(ED
CRYPTlC CADENCES
This is the slash chord version of cadence parody as found in Chapter W. Rather than mimic modal comparisons, the point OF emphasis in this method i s on the melodic aspem of the roots of the diaronic cadence and the resoIution qualities of voice-leading. The upper srmcntre, being a basic triad, always has its tonic as pan of the chord so can be created as a separate tonality. You can organize the upper structures as a V-1, the toots as a V-I, and both the US a d roots as Ieading tones resolving upward or upper neighbor tones resolving downward. It i s the different ratios OF the US to the bass chat give a variety of results.
C H L P T E R XI11
Example 13-3:
SYMMETRIC PAmERNS
Symmetry in itself defines a sense of organization. In addition, the transparency of the triadic dash chord in no way obscures the symmetric melodic contour, so i t is a workable combination to be explored here.
There are many sources of examples of melddic symmemy available for reference. The most comprehensive is probabIy Tbe %atam o f Scales and Symmehic P u f t m ~ ~ by s the theorist Nicholas SIonimsky..
Of course, you have access t o the symmetric scales of everyday use: the diminished, a u g mented, whoIetone and chromatic scales. You may find ic musicaIly advantageous co be able w compose your o m The process is mathematical, and quire applrcable to computer
programming (see appendix).
You need
to
select:
2. An interval o f sequence
3. R direction of sequence
T h e combination of t h e motif and the sequence interval gives the rota1 leng~h of the morif. EXAMPLE:
start:
result:
d4
C
u3
(u3) d4
u3 F
(u3) d4
Ab
u3
Getc.
Eb
Ffl
mociE
ul
u4
u2
d3
sequence:
result:
0
ul
u4
F
d3
D
(u2) ul
u4
A
d3
F#
(u2) u l
~4
C R
d3
A# erc.
DL
G B
To create symmetric scales, keep the mvuf length under three and keep them all in rhe same
direction. A I-note motif is best.
EXAMPLE 1:
motiE
1
sequence: result
2
0 1 2
E b
2
A
C
EXAMPLE 2:
rnotiE
Db
Ffl
Bb
1 2
0
sequence
resuIe
1 Db
1 G
F4
Bb
C(~vorkswithCalt)
CHAPTER
Xlll
Starc Ionian, no 3
A s you can see from the examples, the symmetric motif starts to repeac after a number of
chords. The modal contour repeats as welt When creating these examples,you need t o include enough chords to show the pattern oFrepetitian.
S L ~ S H CWORD HARMONY
ANALYSIS
The analysis of slash chord harmonic contours is pretty much the same procedure as with non-slash chord contours. In addition ro that which was covered with non-slash chord harmonic schemes, we will poinr our US to bass ratios, qmrnerric parrerns, and cryptic cadences. Where w e had concern for brightness to darkness comparisons and momenmm contours, now we need to point out tension CQntOUiS. We will look a t four compositions, au have harmonic contours chat can be organized as slash chords and all have typically romantic meIodles (covered in Volume 2).
1. LOST ILLUSIONS"
- RON MILLER,1978
This is a very srark sounding composition, its harmonic construction being primarily derived From slash chords. Its tempo is very fast. T h e emorional intent is anger. There are two sers of changes, one h r the "head" and one for "blowing," chis is t o make the irnprovisacion more accessible and gives t h e composition a s m n g e r sense of development.
Example 13-5:
Blowing:
A/F
r!!
C#/A
F/G
E/C
E~/F
D/B~
DL/&
C/D
B/G
B~/C
CHAPTER X l l l
"head" portion)
increased rension with the upward skip passing note to set up tessitura of the bridge section 4-9 cycles sequenced down chromaticalIy 10-11 another cycIe, up a major second from last 12 upper neighbor to nexr section 13-15 common tone (pedal point) connection 16-17 rhe much used minor third upward movement
1-2
B. TOP MELODY
CHORDS:
1-2
color tones
conrrary morion common mne common tone general overall downward chromatic melody, rhe chords of the bridge were derived from symmetric parterns: rap-chromatic down, bass-cycle of frfrhs 11-17 comman tone connection 18-20 upward movement to increase tension for resolution tu the top of the tune
C. HARMONIC MATERIAL
CHORDS:
paralIel Lydian-augmentedchords, plateau modal, approaching linear the Lydian-augmented, Mixolydian sus combinarion thar i s a result of the symmetric partern merhod of C O ~ S E ~ U C ~ ~ O ~ ~ 3-4 cryptic cadence-V-I in upper, upper neighbor down in bass 5-6 common US 7-8 common US n bass 9-10 pattern, contrary motion minor third up for rop, minor third down i 11-12 common US
1-2
3-20
13-15 modal shift 16-17 common US and rhe much used diatonirdiy related Phrygian to Mixolydian 18-19 p a r d e l Mixolydian sus chords 19-20 cryptic cadence
a. GENERAL QUAUTlES
1. Although more plateau rhan linear, the emotional quality of Lydian-augmented-active, rense and bright comes through.
2. The bridge is still very active dde t o the Faster harmonic rhythm - it i s verticd modal and due ro the implied cycie, root movemenrs of a f i f i are the most active of any.
...a shift of the symmetric patrern ar chord 8 re &w.,. ...a dominant sus 4 chord as the last chord which \viU resolve to the f i s r chord, giving a
"rounded" form.
A11 ofthe above show a concern for making lthe tune more *playable."
SLASH C H O R D HARHOMY
Lydian #5
Lydian 15
sus
Lydian $5 minor 17
Lydian #5
sus
Lydian l S
sus
Lydian A S Mixolydian
Lydian 85
Lydian 15
(4)
A
Mixolydian...........
Lydian 15
Blowing changes:
Lydian C 5
Mixolydian
Lydian 15
Mixolydian
Lydian 15
Mixolydian
Mixolydian
Lydian 15
Mixolydian
CHAPTER X l l l
cL/A~
B/G
C/k
~ l l / E b B/D
A/F
min.11
sus
B~/B
~(9)
I:.
!
I
j:
I , '
COMMf NTS
A. BASS MELODY
CHORDS:
f -4 5-6 7-8
the tritone skip down is very active, an impbed cycle upward minor third, contrary morion to top melody, a slash chord parrern 9-13 stamng high in the ressirura, the downward contour assists i n serring up the climax 13-14 the root movement of a v-f
B. TOP MELODY
CHORDS:
common tones common tones 5-6 implied voice-leading 06 a cycle 6-7 common cone contmry motion ro bass rneIody, part of a patrern 7-8 9-13 pardie1 motion to bass melody 13-14 contrary motion to bass, another partern like 7-8
1-2
3-4
C . HARMONIC MATEREAL
CHORDS:
common upper structure, cense t o less tense (9 to 6) common US, less reme to tense (6 to 8) 5-6 a hidden C triad CUS,use of a chord from melodic minor fl5 (see Chapter XV) 7-8 a pattern of top triad down a major second, bass up a minor third, also a release of tension 9-13 paralIel modal chords setdng up the climax on a very tense Lydian 82 chord 13 the point of climax 13-14 a V-I release of all che prwiolls tension, rhe sus 2 ( 9 no 7)nonmodal chord being very bright, relaxed and find; ;his i s a great example of cryptic cadence
1-2 3-4
D . GENERAL QUALITIES
1. This i s a vetywell written and compact compositian; Eberhard is one ofthe contemporary "masters."All his compositions show a great d d of inrelligence and musicality.
2. Being vertical modal, the emotiond COnEOUr is derived from other zpecrs rhan modaIity,
Phrygian
minor 9
minor 9
Lydian $5
minor11
minor11
sus
sus
Lydian12
E9no7
3. SOLSTICE^)
This very shorc, through-composed piece, ar first g h c e seems quire simple. But, as the analysis reveals, there is hidden darkness here. The composition is one large rension ronrour with a gradual increase t o a find release.
Example 13-9:
COMMENTS
A. TOP MELODY
CHORDS:
1-8 lengthy chromatic melody, downward, getting dark= 8-1 1 a short upward return, preparation for t h e fallowing 11-12 ... upper neighbor resolution downward
8. BASS MELODY
CHORDS:
...
common tone, repose area transition area by c y d e 8-10 repose 11-12 shorc transition,leading tone up
1-4 5-7
CAaPTER Xlll
C. HARMONIC MATERIAL
CHORDS:
rension contour wirh gradual decrease, index +k 12, 11,7, 4 cryptic cadence with typical rnlnor third movement i n US D-F, modal cadence with 4-5 f i s r inversion D to a G Mixolydran chord modal cadence as dominant cycle Mixolydian #4 to Lydian-au,menred 67 8-10 tension contour with increase b y index R 4, 8, 9 resolving to... 10-1 1 index i? 4, resolution of previous tension 11-12 pattern o f chromatic contrary motion
1-5
...
D.GENERAL QUALlTIES
1. The overall rense and dark harmonic quality is sofrened by the composition's romantic melody. 2. The long tension contour creates an emotional qudiq of being "rhapsodic."In addition, chis is the emotional quality of the subsequent improvisation.
Exarnple 13-1 0: "Solstice" by Keith f'arrett
Lydian #2(N)
Mixoyian #4
Lomian
Aeolian
Mixolydian 5us
Mixolydian 14
loniar h5
Lydian tS(44)
Mixolydian sus
Lydian 85
Phm-an
Mixolydian sm
Awlian
SLASH C H O R D HaRMONY
SUGGESTED fXERCISES
PART I
1. Create four symmetric parrems, motif length two to four.
2 . Harmonize six examples of symmemc parterns in both the upper and bass parts.
5. Create four tension contours; label tension index, and include cresendo and decresendo markings to show i n m d e d contour.
by the methods shown For previous examples. T t is found on the CD Native Danc~r (CBS VCK 46159) if you need a listening.
AnaIyze rhe included synopsis of the composition "Ana Maria" by Wayne Shorter
I. Create a set ofchords for a composition in which all or a large section of the chords is derived from symmetric patrerns, tension contour, or cryptic cadences.
CHAPTER Xltl
S L ~ I M CHORD HAAHOHY
11
Phrygian Aeolian
II
Aeolian lonian
sus
Aeolian
Aeolian
Lydian
minor 1 1
Lydian
minor 9
sus
Aeolian
minor 9
minor 9
sus
sus
minor 9
5 ~ 5
(1
minor 9
4/2
minor 9 Mimlydian
lonian minor 11
II
Phrygian Aeolian
II
CHAPTER X1II
Aeolian
Aeolian
SUS
Aeolian
Mixolydian
Miwlydian Locrian 42
Mimlydian
lonian Mixolydian b2
minor 9
Upper Structure
rds
CHAPTER X I V
Three-pm upper structure chords are chords which can be separated inro three parts, each parz conrributing to the chord's modal definition.
The three parts are:
1- T H E ROOT
2. A N lNNER !XRLICWRE which contains a rrirone, as found i n rhe acoustic source scaIe.
If there is more than one rritone presenr, the one conraining the third of rhe acouscic source scale is preferred. These, of course, are the grips found in Chapter VI.
3 . THE UPPER !3TUCrCIRE TRIAD i s one of rhe mads found on either the fourth or fifrh degrees o f the parent scak, which is usudy a major triad unless it has alterations.
As you can see,
this i s a form of the grip rnerhod of chord construction wish the addition of the upper structure triad Also known as "roorless" voicings, for keyboard playing, the grip is played by the left hand with the rrfads played by rhe right. The root is completed by a bass player o r by prior playing by the pianist's left hand in t h e rnechod of "scride" pianists.
Example 14-1 :The acoustic source s d e s wit31 triads on their fourth and fifth degrees and suggested inner simctures
diatonic
r 5 m
melodic minor
I
IV
I . -
I ;
harmonic mi nor
IV
*melodic minor #5
IV
w r M m
a d
*) See Chapter XV
*harmonic major
I
IV
m a
a1
I
V
fl
hi
61
4 :. ,
Wish the inner smcrure and the top d a d s togerheractingas a combined upper structure, the process for creating chords k [he same as with two-part chord constnrcrion: placing h e US over alE the roots of the parent acoustic source or aperimenring by pIacing them w e r the remaining roots rhat are i n the chromatic scale.
Example 14-2: Placing the upper structures over the acoustic source
unaltered
~onian b3
ronian 63 56
harmonic maior
To find the acoustic source, resolve the tritone that has the leading-tone natural 7. EXAMPLE: T h e C meIadic minosexample (bar 2 ofExample 142) has the tritone F ro $3 which resoIves to C Ionian b3.
Because one triad by irseIf, i n most cases, dosen'c fully define a chord's modaliry, you often find that both triads are used i n combination, on dlfferenr bears, of course.
Example 14-3:
melodic minor $5
It'
"
I.
6
melodic minor
w
unaltered
The three-way upper structure technique is not found only i n jazz harmonic systems; it is a prominent technique of film scoring, big band arranging, and classical music-Try t o identi+ its use in your listening sessions.
SUGGESTED EXERCISES
Construct the following chords with three-~arrUS. ~ n c l u d e both US for four oF them. Also include a chord symbol over the chord.
2. E Phrygian \3
4.
Bb Dorian
5 . Db Amlian b.5
6. E altered
7 . F Mixolydian 84
8 . F Lydian C2
9. C AeoIian \7 10. G Mixolydian b6
CHAPTER XV
The Mode!
7 d Chords of
CHAPTER X V
These Iast two sers of modes and their chords are the most esoteric of rhe jazz harmonic vocabulary. Use of material from rhe firsc p u p is found on onIy the most contemporary of harmony b a e d compositions. Use of some chords from rhe second group can be found in early j~ harmony but withont a reference to its source.
As with previous altered diatonic modes, the descriptions can be determined by a comparison wich the parent Ionian, pointing out the difirences obrained by the alrerarion Ionian 66 is a darker version of Ionian, Lydian-augmented $2 a brighter and more tense version oFLydian,
etc.
Ph tygiari b4
T H E M O D E S A N D C H O R D S Of A L T E R E D D I A T O N I C N O . 3 AND 4
A t least the first three of the cones are needed ro define the mode. T h e order of che lasr three i s not strict.
3. PHRYGIAN b4 - Similar to aIrered b6, including the b5 verifies i r isn't IEhas a wry "dominanr" sound.
Example 15-4:
CHAPTER XY
4. LYDIAN b3
- Being similar to Lydian 12, include the b2 for verificarion (see "Mike1l'sn by
Calderazze.
Example 15-5:
~b-/C
F Locrian bb7
Because of the arnbiguiy and resident tension of most of these chords, rhey should be either mixed with more conventional chords or used with slower harmonic rhythm. Of course, there
will be a number of composers who find these chords t o quite satisfy their aesthetic requirements.
ALTFRED
D I A T O N I C NO. 3 A N D 4
Phtygian b6 #4
Lydian 13 15
Mixolydian 82
Aeolian 65 4 7
altered 4 6
CHAPTER XV
1 Dorian
15
es
#4
Ib3
h6 h6
i7
h 7
( 2 1 4 b3
1
'
Phrygian b6 #4
b2
#5
b9
5
2
Lydian-augmented #3 Mixolydian #Z 14
Altered bb6 bb7
83
#2
bb6
8 4
1 1 4
b 7
bb7
3
b4
6
b3
5
65
k2
Aeolian bS p7
1 b 5 1 h 7 1 b 6 ) b 3 ( 2 1 4
f ? E P R E S N ~ T I V fCHORD fXAMPLES
1. DO RlAN b 71 1 5 - bright and rense
Example 3 5-10 :
2. 'PHRYGIAN h6 #4 - brighter
3 . LYDIAN-AUGMENTED fl3
- sounds "dominant"
O F h L S E R E D D I A T O N I C N O . 3 APED 4
4. MiXOLYDtAN #2 #4 -
Example 1 5-1 3 :
I
6.AEOLIAN h7 b5 - not much Aeolian quality left
Example 15-15:
7. ALTERED b6
C altered \6
This completes the consmcuon of aIt the chords that will be presented for use in Volume 1 afthis textbook. Not including the nonrnodal group ofchords, we have a formidable palette OF thirty-five modaI caIots with which to work.
hoking a t the section on tetrachord construction in r h e appendix, one can see the possibiliries of unusual sombinanans and the creation of many more esoteric modes and their chords. O f course, with the btener of your creative efforts taken into account, more than a Few of rhese and the newly created chords may not be accessible. Bat experiment anyway; eventually che wodd will "catch up."
CHAPTER X Y
2. Lydian #5 1 1 3
3 . Lydian #2
4. Lydian hS
5. Lydian b3
6 . Ianian #5
7 . Ionian h 5
8. Ionian b 6
9. MixoIydian 1 1 2 $4
10. Mixolydian b2 #4
11. MixoIydian b6
12. Mixolydian & ' h4
13. Mixolydian b2 h 4 14. Dorian b7 $5
f 5. Dorian 47
1 6 . Dorian 47 bS
17. Dorian b7 #4
1 8 . Dorian b7 b4
f 9. AeoIian h7 1 '1 5
20. Aeolian \ 7b5 21. Aeolian b7 @
22. Aeolian b7 bS
26. Phrygian b3 b6
2 7 . Phrygian 63 66
28. Locrian h6
29. Locrian 66
32. Locrian \4
33. Atered h6
34. Altered bb7
The emotional qualities also can be obscured by rhe added rension of the alterations, but considering as before, the basic qualities of the unaltered modes being enhanced by rhe alteration, Mixolydian R 2 #4 has the same qualiries as the unalrered hiixvlydian h 4 bur a bit brighter and more active.
THE MODES
AND CHORDS
O F ALTERED D l A f O N l C
NO. 3 A N D
SUGGESTED EXERCISES
I. Construct
a number of chords wirh all spacings; include a number of grip method construcdons and a fern three-part upper smtcmre consrmctions.
2. PIay all rhe chords w i t h an ar training goal in mind; try t o idendfy char use on recordings.
This concludes che presentation oFthe materia15 oSVolumc 1 of this book. Although there i s suGcient information for the creation oFbeautiFuI and forward-looking harmonic schemes, harmony alone does not define music. Needed to be covered are the elements of melody, rhythmic concepts, style, and tonal harmony.
Tonal harmony is so prevalent in the student's continuing educational and listening background chat f u r r h e r study is not that critical. Awarenes of its use within style categories is imponant to acquiring a well-rounded harmonic concept In pardcular, looking at the use OF tonal harmony by the masters of rhat genre - TheIonious Monk, Charles Mingus, Tadd Dameron and Benny GoIson - can be of benefit.
Referring t o T h e Categories ooFJazz Cornpositians found in the introduction of this book, i t is apparent rhar there 1s a diversity of jazz styles, each tvivich their own particular descriptions of harmonic, melodic, rhythmic, and orchesrral implementations.
The serious jazz composer should be aware ofthose means of implementationand be abIe t o compose in any of the lisred styles. Even if the primary goal of rhe composer Is to develop a single personal sryle, che abilisy m compose in all styles wiII only enhance and clarify the development of one's own s q l e .
The goals of further volumes of this book are toward char end, with the presentation o f the following subjects:
6. Group c~rnposirional styles Wirhour access to furcher volumes, the smdent should pursue his own regimen ofstudy by transcribing and analyzing a number of compositions from each category and compose within the studied style.
We cannot conclude wirhout reminding the student that h e rnusr bting the precess to its consummation: The presentation of his efforts m an attentive audience, whether through a live performance or &rough the recording process.
me Serie
3. ADDITIONAL EXAMPI
(a) Common C onnectic~n
( b j Symmetric patterns
(c) Computer Generated Examples
4. EAR T R A I N I N G
6. DISCOGRAPHY-BIBLIOGRAPHY
7.ABOUTTHE AUTHOR
The f~Ilowmgis not meant to be a rreatise on the science of amusria but a cursory introduction ro the subject for referenrial purposes. T h e student whose interests require a more in-depth study should consult eicher The Crufi of Mil~ictaI Composiiion by Paul Hindemith, Contemporary Hamony by Lurnila Ulehla, o r Modem Humonic T ~ h n i q w by Gordon Delarnont.
AIl acoustic explanation f o r that which occurs in harmonic and melodic application can be derived from a reference to the Overtone Series.
The overtone series (0s)i s a phenomenon which is as much a part of our narural universe as i s the force of gravity. Just as the prism splits the spectrum oflighc into a fked order, the OS produces a series o f pitches following strict natural Iaw. Any sounded tone produces ad&tion4 tones (overtones and sometimes undertones) of varying intensity. It is this variation af the intensity o f the generated overtones that creates timbre.
Our use of she OS requires only the knowledge af parcial &o and pardd number. Ic i s suggesnld that the serious student memorize the ratio of the pitches a the OS, i.e., the i n t e n d s - P8,P5, P4* etc.
T H E OVERTONE SERIES:
When nvo pitches (an interval) are sounded together, a third pirch (or somecirnes more) is generated naturally. This pitch is c d e d a cornbinauon tone. Combination tones are usualIy determined by finding the difference in che ratio of rhe frequency ofthe sounding pitches. It is suff~cientc o refer only t o the parrial number. As an example, i f che t w o tones being produced are middle C and G a P5 above, their partial numbers ace 4 and 6, the difference tone in this case wodd be 6-4 = 2 or rhe second pardal, which is C below middle C.There are cases where additive tones are produced, bur: rhey are usually inaudible and not o f parricular
interest M us.
q
The point of all rhis i s that oF all the possible asymmetric scales in use, only lonian has a tritone resolution r h a produces ~ a difference cone that completes the construction of a major triad on the tonic o f the scale, allowing a complere state ofrepose.
APPENDIX
- 1
5 ( - j :
mnic
* tonic
a
F
1. The major scale, with the tritone in filled notes. 2. The resulting interval and parrial numbers.
3. The computed difference tone,creating a mad.
4. A Phrygian mode, with
ACOUSTIC SOURCE The acoustic source is the Ionian mode whose root is h e f u n d m e n d of the ovettone series, defined by the critone resolution shown above. For the Phrygian exampIe above, iris C Ionian. Of course, the quick way is to refer t o a mode's key signature: C Lydian's is 6, Eb Aeolian's is Gb, etc.
1 . G - nu Junge
L Bb
- right on!
2. E b altered, darker 3 Bb d~sptacc down a n o c u m rmse 4. AL - altered &dispkrrd, dark & tense Resulc quire dark, nor too u n d e
2. G 3. E b
4.
- OK
- alrcred, a bir darker
1.G-
OK
3. ~b
eense
mnse
chard
The nexr: scep here is to pIay chtsc chords and compare the subjective resulm TTry m e r e n t tessimras, note the result.
Hindemith points out that the changes in partial placement md spelling resdcs i n an actud increase in energy through molecular acduiry. Try to hear an increase i n "heaviness" in the tense spacings.
APPEHDIX
chord that would most clearly define the modalicy of a scale would conrain all seven notes
of chat scale. Obviously, that would not be too musical; a group of chords all voiced rhac way
would be much roo dense and overbearing as well as inhibitive of any sense ef voicing contour. Irt order EO selea fewer notes that wi1I give mi the transparent spacing that is needed while still defining the particular modalicy of the scale we are representing, we need a method to determine a priorir). of note selecrion.
T H E METHOD As shown an previous pages, the Ionian mode is the most srable of all the 35* modes available
for use in contemporary jazz composition.
Even without investigating its acoustic properties, the listener "knaws" h a t the Ionian mode is the one wich the least desire ro resolve. So, from this poinc an,we will consider it axiornadc thac the Ionian mode will be the point oF cornpxison for all other modes, whether they are brighter or darker than rhe compared Ionian.
With this in mind, to determine the modal definition of any scale, we need to make a nore-tonote comparison wich the Ionian mode that has the same roor as rhe mode to which it is being compared. The nores that differ are rhe notes we will use to define the new mode chordally.
rhe following examples show: Lydian could be thought o f as Ionian wich a sharp 4, the sharp 4 being the only difference between Ionian and Lydian built on the same root Dorian could be thoughc of as Mixolydian with a flat third or as Ionian with ics third and seventh flatred. To determine the primaty color cone, a comparison with a mode's immediate predecessor must be made, and the remaining color mncs are derived from cycling back to the original Ionian As one can see> this wouId give us a flat sixth as the primary color r o n e of Aeolian and a namrd sixth as the primary color cone of Dorian. The process goes on. . .
As
DERIVING THE
COLOR TONES
. Lydian #4b7
ronian h447
LYDIAN is brighter than Ionian and refers m a sharper key. Ic is like bnian with a sharp 4.
the natural 7.
lonian @ \4
4 7
Mixolydian 1 1 3L 1 4b 7
MIXOLYDIAN has che same spellings as Ionian except for che alteration of rhe flat 7 . flat 7
APPENDIX
lonian
q 4 96 4 7
Dotian b3 4 6 bJ
DO R lAN is a darker version of Mixolydian. Looking ahead to Aeolian, because A e o h has a SIar 6, the primary quality of Dorian is natural 6.
lonian $2h3
b6 4 7
Aeolian 42 45 b6
AEOUAN is
clearly in the redm of darkness, with so many flats. Flat 6 is its primary E wne, natural 2 (9) completes it.
O ~ O ~
lonian 42 h3 h4 h6 4 7
Phrygian 62 $4 PS
PHRYGIAN" primacy color tone is flat 2 . There d l be mote Phrygians to come and flat 2 is
a primary
LOCRIAN is so altered ir approaches anocher key center. I t is like Phrygian with a flat 5 . Hat
Notice that many of t h e note choices include the pitch that is found a tritone from the primary color tone; that pitch is usually definitive of the mode. (Ex:the natural 2 ofAeolian, the fifth oEPhrygian). Looking a t the a ~ o u r t i c source &ere is a trimne between rwo oFthe notes: C lonian's are F and 8, and che two usually are found irr the first two notes oFche order table.
This also exphins why Lydian and Locrian are special modes regarding resolution tendencies; they both have a tritone built From the root.
Zhe method for determining color tones is the s a m e for the altered diatonic modes. The above example should be sufficient as a guide iEa student wants to pursue &at assignrnenr.
APPENDIX
CONSTRUCTION OF TETRACHORDS
There are many more tetrachords that can be used by the forward-looking composer than is Found in contemparary examples. T h e following is a method for construcring the tetrachrsr& presently in use, a s well as a means for deriving new ones.
The onIy "rulesnta follow are to incIude four notes and to keep the sum of che semitones of the tetrachord within the definitive limit. IFthe terrashod is t o be used to conscrucr modes, the sum should not be higher than s i x semitones - a limit of less than four semitones would give a tetrachord chat couId not be transposed. h addition, one should assure that the pitch sequence folIow the normal alphabetical sequence: A B C D, C D E F, err. A semitone Iimit above six allows the creation OFpentatonic and ocher specid use tetrachords. A few will be included here and the subject will be covered in more detail i n Volume 2 of this rextbook.
Example: 4 Semitones
Dorian b4
Spanish
Phrygian 6b3
Example: 5 Semitones
Ianian
Dorian
I
I
Phrygian
I
Blues
harmonic
Blues
Example: 6 Semitones
Lydian
Hungarb pentatonic
Hungarian major
Hungarian Phrygian
unnamed
Erebird I I
tl
it-
x*
tl-
7T
fifth limit)
As one can see, as long as there is the four note Iimit, there are quice a few possibilities for
tetrachord construcrion. T h i s procedure can be of greac use for the Irnpsonsor/cornposes for the inscant creation of exotic "lines" while "blowing" over changes with relaxed harmonic rhyhrn - but this is a subject for another book.
ADDITIONAL EXAMPLES
The following miscelIaneous examples are included for further reference f o r ideas, examples ro pIay at a keyboard, for ear raining, or for clarification of concepts. A number of&ern were created by computer ptograms - and are still useful. The examples include common tone connection, both upper and root, symmetric patterns, and harmonizations. Wirhin the exarnpIes are additional chord voicings for further study.
Mixolydian
altered h6
Locrian bb7
Mixolydian
tonian
Aeolian
1
A
Aeolian
lonian
APPENDIX
APPENDIX
APPENDIX
4. Be able to identify rhe primary cobr tones as an inrervd of root to coIor cone. This first part wiIl not be me diff~cult because of the arnounr of melodic ear training rhat is a part of one's early training.
5. Learn to identify the arpeggiated unaltered diatonic modal chords - this, still a Form o f melodic ear training, shouldn't be too difficult
6 . Try to hear the unaltered chords with three notes only root, primary, and secondary color cones. Refer to the following guide.
THE GUIDE
This is organized by categories of a primary color tone with its added secondary qualities. Once you learn the primary qualiry as an intervalic definition, add the secondary color tone.
1. Groups of 1 1 7 Ionian
2 . Groups of b7 Mixolydian
Ionid0
lonian b4
Lydian
minor 7
Mixolydian
Mixolydian
Mixolydian 14
II
4. b2 Phrygian
{I
r n i m7
Dorian
Aeolian
minor
Phrygian b7 P h ~ a in 6 Phtygisn I S
Locrim
Phrygian
Phryg*n h3
51
Lydian
Lydian $7 Lydian 12
II
II
il
You can further organize the chords iE you wish, maybe by groups of major thirds, a11 the altered types or all Lydians: Lydian, Lydian-augmented, Lydian BZ, etc.
Moving on ro full spacings, it is best to learn the chords by their composite sound and by their grip. When you hear a chord, your right hand should have a "Feel" f o r what you are hearing. Learning the chords by their composite sound has no real shortcut - you musr spend a lot of time i n practice. S m by learning the voidrrgs that are most commonly used; rhey are available within the pages of this book. IF needed, practice with atpeggiations at first. In addition t o "ear raining" practice, much keyboard playing of the chords will be of benefic, particularly for the "grip"merhod of idmcification (see Exampk 8). Slash chard idmtificatian c a n be Iearned by an inrervaIic method. As you will recall, the upper structure triad has a root as part of its construction;learn to identify rhe ratio of that roar to the root of the chord (see ExampIe 9).
8. Grips
9.9ash chords
up rninorfd
Once you are fairly proficient with modal chord identification you should move on to the mansccibing of h I l compositions, with fuU transcriptions of the chordal voicings.
An ultimate goal i s to be abIe ro identi$ everything that you hear and t o be able t o transcribe
it to musical notation: all drum parts, bass parrs, horns, voices, rhythmic figures, chord vaicings, and drnbral or instrumencaI assignrnenrs. The mamre student should include identificatiort of the players by style and sound. And for the meticulous, identification of makes of instruments, reed size and mouthpiece and even synthesizer makes and "patchesn;i n shocc, all you know and hear.
Your ear training shodd not just be in the academic environment or i n the car listening ta the stereo: while watchingw at movies, identify and, later transcribe the music - the film scores have some great scuff. Try to rranscribe Stravinsky or Gil Evans; go for d you hear.
Everyone has different abiIities for aurd identificadon, from those wivh perfect pitch so those whose listening background has been mostly "pop" harmony - but all can benefit from more ear training.
APPEN
DlX
Jazz COMPOSERS
T h e Following is nor meant to be a comprehensive representation of the evolution ofjazz and its composers; ic i s meant to be a guide for the discography chat foliows. In addition, it emphasizes the composers whose materials are closer to the materials presented in this rextbook.
The key word here is infienhifi because mosr jazz musiciarfi arc composers. Yet, there are composers who, because ofthe strength of their compositional skills, have inspired others to wtite in a sirn~lar style. That is tvhy some names are nor included, names that once mentioned bring forth memories oFgreat compositians. Names Iike Kenny Dorharn, Freddie Hubbard, Cedar Walton, Benny GoLon and Hank MobIey - great tunes, but no movements starred because o them. So, using t h e FolIowing visual reference, rcy to hear rhe influences as you listen to the suggested recordings found i n the discography.
I Blues / Church /
!
( ~lassical
-+ Horace Silver
1
Monk
Andrew Hill
Herb~e Hancock
+ Randy Weston
Chick Corea
+ Billy Strayhorn
'If
Joe Hedederson
,
if
Charl~ Mingus 4
Eberhard Weber
Ralph Townw
Kenny Wheeler
Omette Coleman
r k
Ron Miller 4
Par Merheny
Cada Bley
David Liebrnan 4
Keith Jarretr
I
Albert Ayler
RECORDINGS
The following, although net complete and not torally up to dace, as there are so many new releases each month, are represencarive of the composer's works as advocated By this .texr As mentioned early o n in rhe text, knowing the music on these recording is essential to mastery of the harmonic/composicionaI techniques presented. More than a cursory listening, the music must become a part of your inner being: it must change your musical life.
DUKE ELLINGTON
1 . Ma-ieces
L y .EI!ington
2. E!lmgron At Newpwt
9.Anatomy Of R Murder
2. Spedk No E d
3. Etcemd
4. Adam's Apple
3. Pdge One
4. isnw Utge
5. N r b h Ddncer
6. Ahatis
HERBIE HANCOCK
MILES DAVIS 1. T%e Sorcerer
1. M&
Voyage
A
2. Speak Like
Child
2. My Fwnny V a h t i n e
3 . Cmsringr
HORACE SILVER
3 . ESP
JAZZ MESSENGERS
1- Finger Poppin'
2. Silwr'r S
d e
1. trgetslc
2. Juzz C m w o f tfic W d d
CHARLES MINGUS 1. Barnlab Sessimrr
2. A h Urn
THELONIOUS MONK
1. Live in N e w
York
I. Q#i& N i @ &
2. Miles + 12
3. id;r&hIism
2. Live in &pun
3. Live i?? Sari Frankco
APPEHDlX
EBERWARD WEBER
1. Yellow Fields
I . SoI5ricc
2. Winter L i t
3. B h e Stsn
2 . The FollowfngMornkg
3 . Little M o v e m m
AVANT-GARDE
MISCELLANEOUS
3. Albert Ayler
Ghosrs
5 . Mareria1 - Memoly S m s
6. LaswelI - Baseltnes
Zawinnb
- Golden Lohsr
CLASSICAL LISTENING
The following sample selection should provide good starting point for additional harmonic and meIodic source rnateriaL Most of h e non-idiomaric harmonic and melodic mawrials, as presented i n this book, are derived from rhe listed sourcex Romantic melodies are very much a panr of the jazz Ianguage and these compositions also provide great examples OF modal harmony, chord voicing, romantic harmony and, of course, the skills of the rrtorld's best composers.
I t is suggested that you obrain rhe scores and read along with the recording, making notes of particular areas of interest Like the jazz recordings, you should attempt co make rhese musicaI exampIes a permanent part of your inner self.
9 . Stravinsb - Firebird
1 0 Stravinsky - Symphony of Psalms
APPENDIX
BOOKS
A. THEORY
dnd
2 by Paul Hindemith
12. Thesdwcs of S c d u &' Syrnmetricd P u m s by Nicholas SIonirnsky 13. Thej d z r Composer's Companion by Gil Goldstein
8. HISTORY
C. MlSCELLANEOUS
1. The Music ofRon Miller
APPEMDIX
Ron MilIer is a professor OFjazz studies at the Univesicy of Miami. His areas of expertise are and jazz piano. He also directs he Monk-Mingus, Horace Silver, ECM and Avant-Garde ensembles. Ron's compositions have been perfomed worldwide by many musicians including the faculty and studena at the Jamey Aebsrsold clinics.
H i s compositions also have been recorded and/or performed by notable musicians such as
Hal Gaiper, Red Rodney, uE1ernen~s," Ira Sdlivan, and Stan G e m
Composition students OF Ron's that have accained notoriety include Par Metheny, Stwe Morse, ' T ' Lavitz, Bruce Hornsby, Gil Goldsrein, Mark Egan, Mart Harris, Denis DiBIasio,
The Jazz
The 1 -
O R D E RNO.
(125 P A G E B O O K )
Theory WarkbwK is a primer i n j z theory, intendedto prepare the nudent for the serious study of jazz imprwiutwn, anangement and c o r n p i t i o n The f o c u is on the harmonic Tanguage d j a n , especially the harmonic practjEes which malasced in the bebop and pwt bop periods of the 19405 and 1950s when M o p and standard tunes formed the care of the mainstream repertoire. The harmonic language of that period is still the framework nn which contemporary jan musiciam build Included are many musical examples and written assignments for pracrice in the theoretical skilk. Appropriate w e h e r , are provided 20 ranforce theoretical concepts by immediate applicationt o the instrument.
..*...
8 r t L DOBBIWS
NO. 31305
(BOOK W/CD)
-Six complete scows in concert key are ideal for a n a w for playing the horn parts on the
piano o r for followingthe pehrrnamces an the CD.
-An extemive h p w r on form and development deals with e x t e d e d mmpasitional f o m
and the use of cumpositional techniques in m t i n g for the small jazz ensemble.
-A useful diswgraphy is includeda t the end of each chapter.
Lineer Apprwch is a w&me and greatly mrded addition to jan educafional lit~rature It ir the jrrt bwk t o provide a dear and lagicnl b-e Jram the more basic techniques of arranging and melody hmmenishn m the m r e adwrrred linear metham employ& by mme ofthr most interm'ng and infhrenoal j m m g e n d cumparerr. The m&I exarnpl~ and om urn we!! organized and the a n r i w ~ is clmr and txces~ible. I have bng known Bill's unique abrlities ar a pfted pianist and cornparer, and I highly recammend this most recent m n r n i n to j m writen uf all lmIs a ! expen'meY Ffsk)
-.....
G ~ GOLDSTEIH L
T h i s book i s divided imo three main sectiom: Melody, Rhythm, and Harmony. Dozens musical examples x well as mmpwkions by 8ill Evans (pianist), laco Pastonou, Jim Hall, Ralph Towner, Steve Swdlour, Pat Metheny Michael t i b b s ao.am induded in order t o illustrate &fic compositional techniques. An extensive rhapter on fhe Grnpositiamal P r features interviews with jazz composers Bill E m s , Carla Bley, George Rwell, Home Srlver, Pat M&eny, Hancock, Richie Beinch, W p h Towner, a n . Chick Carea, Lyk Map, Anthony Davis, Herbie
'Gil doer a service here on a high level. The mnrcpn he ofm impuse im stye and thur, can be used and extended f a enrich my mw&s vocubdaly. 7he rest ir up to you." (EllFvum)
ANDY J A F F E
Jazz Harmony
* O R D E R NO. 11210
(CA.
100 P A G E S ]
2nd edition, mrnpleteb w i s e d and enlarged. 14 chapters induding exercises and assignments: I m a l s ,
Chords, Inversions, Modes; DiatwlicAnd Modal Chard Progrersions; The Blues; Lead Sheetr; Song Forms
and Melodic Variations; Secondary Dominant Chords; Substitute Dominant Sewnth Chords and Tritone
Subr; Minor Key Hanmny; Modal Interchange and Minor 8 1 ~ sCommon ; Chord Progresrionr and VoiceLeadin% Modulation; Pentatoniuand Other SymmeWic Scdu; Blues Variations; Rhythm Caltrane's 3-Tonic Syscem; Slash Chords and Hybrid Chord Voi~ngs.
Chang-
The first edition was one of the most widely wed b o o k on jan harmony. For classmom and mdividual use.
" J m Harmony i s a brilfimt addirmn to the fwMofjm theory. It ir well-wdm and beautiJullyarganited, and the infirmation i t mntvins is drornughg mearchedsnd aurhmtiral~ prrrented I mcammmd it hrgh." (David Baker)
FRED S T U R M
e d a d the number of renditions creatod by historically significantjam arrangefi, including Dan Redman, Fletmer Henderson, Benny Carter. Duke fllinpn, Billy Strayham, Gfl Evans, Thad J o n q Bill Hdman, Bob Bmokmq.er, and dare Fixher The c a s studteq were n a r m d to 35 arrangements of three classic jazz mrnp&ions and one Amenan papular standard song: Jelly "Roll" M o m ' s Kimg Porter Smrnp, Don Rdman's Chant ofthe W , Gerald Mavks' and kpmur Simon's All OfMe, and Billy Strayhorn's Tuk The "A* Train. and/or parts representing nine decades were suppl~ed by llving mangers, bwrowed from colkctions, m o n s t n r w d from sketches o r tranwnlxd from recording. Fmr contemporary rnaners were ultimately mmmissiuned ta create new arrangements af four selected mrnpositions.
L U D M I L A ULEHLA
The undemandingof the musical techniques of campasitioncan rrot be reduced to a handbook o f sim-
CONTEMPORARY HARMONY
n?rrmuun c h rhc Tweh.-Tmc R
plified ruler Music is complex and ever changin~ It is the p p o s e of this b d t o tracethe path of musical growth fmm the late Romantic period to the serial techniques of the contemporary composer. Through the detajledanalysis of the musical characteristjcs that dominate a specific styie of writing, a graduated plan is o r p i z e d and presented here in the fawn of explanations and exemses. A new analytical method substitutes fur the diatonic figured bass and makes exercises and the analysis of non-diatonic I h t U r e mum manageable. The mplanat~om de~ribmg each techn~que are thoroqk They are dsfgned to help the teacher and the nudent ree i h e many extenuating circumshnces that affect a particular analpid decision. More important than a dogmatic decision on a particular key cmter or a rowt tone, for example, is the underM n g a f why such an underdeterminatecondition may exist
"I b v e ued diir b o o k ~ n n a l y r i r f i r w a d i n g and ar a creative mol in rrq own cmparitkn* h i s e n m w l y useful m d pm~mtive (Robert .~ M Abranm~u,The JuifIiilliord 5rhwl, New York) "Qntonpomry Harmony is& anly b w b that adquatdy matr conmpomry urmposithml t h i q u e r ar rhemn'ml erpansions upon the part . .one OJ t h e m andpiml essays oJ our century' (Ron mamas, Nnin) 'Conremporary Hmmony IS one oj the finest, most comprehensive tertr wef written od thc subject A unique and imaluaMe ronrribardon to M Ithe n u d o l t a d the pmfexknal muskinn" (fiAnthoqy R l c i g l h , Manhatrun Sdruol ofhlurrc, N e w York)